Burundi Film Center
A production blog about the Burundi Film Center and the wonderful and surprising experiences of producing a new series of short films!
July 6, 2012
Graduating
The scripts might just be getting started, but our time together is officially over. I had less than two weeks to teach screenwriting and concept development, and so today, we just went over some last minute formatting details to make sure everyone was comfortable using the free screenwriting software Celtx. I’ll be giving out homework assignments for the next few months and expect completed screenplays by mid-February, but basically this was it. The course will continue virtually until then, so there was unfortunately no certificate ceremony (that will come next year). The students did, however, surprise me with an impromptu roast to see us off.
Apparently, I gave them a plenty of material. Everyone surrounded a couple of our students who started into a little performance. Fabrice (the writer of our 2010 hit film Knock Knock Who’s Dead) played me, sitting in front of everyone and commanding the rules of the trade in my distinctly Canadian accent. Then an eager student would pitch “me” their idea for a feature film, which would be ripped apart with my French malapropisms or newly minted catch phrases. “You have to do better than that if you want your certificate!” or, my favourite, “That’s not a story, that’s your schedule for next week!”
The class really came together and will undoubtedly be leaning on each other for the coming months. We’re also going to organize monthly screenings for the students to watch and dissect films together. The biggest news, however, is that we finally decided to pool our minimal resources and rent our own proper office space. More than an administrative hub, it will also be a small and quiet space for the students to work on their scripts. The finances depend on a contract I re-signed with a phone company to finally finish our CinéMobile, so here’s hoping everything comes together over the next few weeks.
As I see what we accomplished this round, and the groundwork we’ve laid for the future, I’m reminded of all the people who made this year possible. Here in Burundi, I once again could not have done everything without our executive Director Papy Jamaica, our Administrative Coordinator Joseph Kapoma, our KinoBu Director Rudy Kimvuidi, our local production partners and everyone who lent us their time and/or equipment. There are also all you people who donated to our IndieGoGo page and made this year, and now the office, possible. Not to mention my wonderful wife Bridget, whose presence in Bujumbura was sorely missed this year (by me and the students!). And finally, my 2012 Canadian troopers who were on the ground, starting with my dad who made the trek and was always willing to lend a hand, and especially Lysandre Leduc-Boudreau who was a great help by my side for the whole trip.
The day ended with a high note when I was able to distribute T-Shirts to all the students that were generously donated (again) by The Sam Group in Ottawa. It means a lot that the students don’t walk away empty handed, and our family photo is always a great reminder of how things can really come together in the end, even if there are plenty of headaches along the way.
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July 3, 2012
Home Sick and Holidays
Four trips to sub-Saharan Africa in six years have taught me to always expect at least one bout of travel sickness. This year, however, it looked like I was going to get away scot-free, until I caught a cold on Canada Day. How bizarrely patriotic, right? But I couldn’t let a little cough get me down when we had a big party planned. July 1st is a national holiday in Burundi as well, after all.
This year marks the 50th anniversary of Burundi’s independence. Many of those years have been marked by horrific violence and a Civil War (1993-2005), but the past seven years have been relatively peaceful. As a result, people were in the mood to celebrate.
My dad special delivered a Costco-sized bag of pancake mix, two varieties of maple syrup and every Canadian-themed decoration he could find in Red Deer, AB, so we could cut loose with our students this year. I pulled out a guitar at one point and somehow managed to play about a dozen songs that were familiar to the majority of the people there. From Eric Clapton’s “Wonderful Tonight” to Eminem’s “Lose Yourself”, we all sang ourselves into the night before breaking out into a dance party that lasted a couple more hours.
Very little of our reveling was fueled by alcohol either, as more than half our guests surprisingly opted for Fanta or juice instead of the varieties of beer we bought (with great difficulty, I might add). Maybe everyone was just saving themselves for the next day, when Burundi decided to officially commemorate their anniversary. Someone, somewhere, decided Sundays we’re for partying. But we didn’t listen.
Come Monday, parades were organized on the streets and drummers could be heard performing across the city. Some commemorative parks right near our place were even designed for the occasion, with the final touches being administered at the very last minute. A couple camouflaged helicopters circled regularly overhead, but I have to think they were rented from a neighbouring country. No one was used to seeing them before.
Our apartment this year has been pretty perfect. On our Burundian-sky-scrapping fourth floor balcony overlooking the Chaussée Prince Louis Rwagasore (a main commercial street), we have a prime view of city activity. Usually we get to enjoy sunsets and people watching, but on occasion we’ve witnessed some pretty intense drama, including a police arrest that or may not have resulted in a death.
As a police officer calmly held a screaming man’s head between his legs for several minutes, the man eventually passed out and never got back up. He was eventually thrown into the back of a police truck and taken away, and all we can do is hope he eventually came to. I’ve said before it’s a little bit of the Wild West out here, but that’s never seemed so true.
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June 29, 2012
Here Comes the Twist
A few days ago I received a phone call saying a surprise visitor was on his way to Burundi to help with the project. I was promised a seasoned veteran with a passion for photography, a year’s worth of experience working in Africa and fluent bilingual skills. He clearly fudged that last point on his resumé, and based on my wonderful experience with Lysandre this year (who I met the week before leaving) I didn’t exactly check any references. Probably foolish of me, but if someone’s willing to find their way over here, I’ll embrace them with open arms. Especially if it’s my Dad.
Papa Redmond, as the students call him, made his way with a bag full of goodies fit for a Prairie boy (I’m looking at you, Old Dutch Arriba Zesty Tacos!). And while I was initially worried that our reverse schedule would mean he missed most of the action, our overflow of Kino films meant we had enough for a third screening. So Thursday night, with minimal word of mouth, we held a much more relaxed evening of unseen films and favourites from the previous nights. We even had the Chargé d’affairs from the Ministry of Culture, Youth and Sports attend, although we were warned he only had about 10 minutes to spare. An hour and a half later, when the event was over, he eventually left with a big smile on his face like everyone else.
The strength of the Kino films has been their levity and brevity. Several people have also expressed a sigh of relief that Burundians might finally be getting past only telling stories about women getting raped, pregnant and/or married. Domestic dramas overwhelm what’s written and produced, leaving almost no room for experimenting with the medium or genres. We’re hoping to change that, but based on the first ideas we’re seeing in our screenwriting class, we have a long way to go.
I’m showing a wide variety of films this year, from independent darlings like Little Miss Sunshine to adventure classics like Raiders of the Lost Ark. In some cases, I just want them to be inspired by bold characters and compelling action. Other times I might explore how a movie about a creepy little alien from outer space is really a metaphor for children dealing with divorce (E.T.). Breaking down their major plot points also allows me to demonstrate how seemingly polar opposite films share a common structure that’s essential to engaging storytelling.
A couple of class activities have also helped exercise the demons of melodramtic clichés. Lysandre searched out a bunch of photo books from a nearby library and had each student create a film synopsis based on a single image they found. Suddenly we had stories taking place in places from Ancient Greece to post-Tsunami Japan. As a twist, someone else in the class had to explain the ending as if they had already seen the film. Everyone in the room, myself included, seemed re-energized by knowing there’s a lot deeper potential in the class than what’s initially come to surface. Localized dramas are all good and fine, but it’s much more fun when, say, the father suddenly flies overseas to join his intrepid son.
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June 26, 2012
Class Action
Our theme from the last Kino was The World Upside Down, which is a bit how I feel with the training in Burundi this year. Normally, I work chronologically - teaching the basics of film theory and history, then moving into storytelling, then technical training, before taking the big step into production and post-production. The climax, of course, is always the film premieres, sometimes with an extended finale of outdoor screenings all over the city. But I’m teaching a more advanced screenwriting course this year (Level 2 out of a foreseeable 3) - and like all good act breaks, the action has now changed course. The emotional arc may be reversed, but the more relaxed grove of a classroom is already providing to be a welcomed counterpoint to the dizzying days of production.
Writing an entire feature film script is an incredibly daunting task in it’s own right. But it’s also a much more personal journey. Years can pass before enough blank pages transform into a fully fleshed-out story, with engaging characters, believable dialogue, captivating plot points and a compelling narrative. I see no value in forcing out Kino-style scripts under the pressure cooker of our two-week course, so the goal is to have a final document in-hand by Feb.15, 2013 - just over 7 months from now. The immediate plan, therefore, is simply inspire and educate, leaving the BFC’s third pillar (entertain) for a much later date.
One of the biggest panics at the recent BFC forum was how I could limit the class to only 12 people. After all, we’ve had over 100 students take our courses over the past five years. So I extended the limit to 20, which as it turns out, was more than enough. The only entry barrier was that students needed to send me a short synopsis of a story they thought would make a good feature film. That narrowed the field to 14 applicants, which meant I was actually able to open the class to qualified students who never participated in our earlier classes. I went with the ones who have pestered me the most over the past few weeks. Persistence pays off people!
The downfall, I’m realizing, is that five years since I started is a long time between courses. The majority of my most engaged students have either left the country, are working full-time, or now have kids and family responsibilities that keep them from our classes. This means only three of the students are from my first crop of cinematic crusaders. Plenty of others expressed interest, followed in the end by regret that the timing just wouldn’t work. Others have narrowed down their interests (documentaries, cameramen, editors), which I admire and hope to be able to help in future classes.
Lysandre and I have been combing through the piles of books we brought to expand upon the daily schedule I’ve worked out for the class. We’re also trying to decide on the films we’re going to show that will help illustrate the points we’re trying to make. I opened, yet again, with the South African film Tsotsi, which I use every year. And then today, I took the rather bold an audacious step of screening Roman Polanski’s Chinatown. What can I say, we have to move fast if we’re going to get anywhere in two weeks.
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June 22, 2012
Decisions, Decisions
My main goal going to Burundi this year, as I’ve detailed, was to start a Kino and teach a screenwriting workshop. I also, of course, have to run the BFC and the endless details that keep this project alive. That’s more than enough to keep me busy. Then there are my responsibilities back home, like a day job in advertising that involves sporadic teleworking and a fledgling film review website that needs to be fed. So when I strolled into the headquarters of Festicab (Burundi’s film festival), and was asked to be the new President of the international short film jury, the manager in me was thinking “no way”. But the film geek in me couldn’t resist.
Festicab started in 2009 as a Pan African showcase to help foster a local film industry and film appreciation. We obviously have a lot in common and it’s in everyone’s interest to see the festival succeed. The staff is also filled with my former students and BFC films often dominate the local programming. In fact last month, worried he didn’t have enough homegrown submissions, festival president Léonce Ngabo found funding for the BFC to produce three short films for the festival. One of those films even made the jump into the international short film category I was presiding over. There wasn’t much fear prejudice - it’s a nice film, but the South Africas and international co-productions of the world always expose Burundi’s technical limitations.
My jury was supposed to consist of two other members - a representative from the Institute Français du Burundi and a filmmaker from neighbouring Rwanda. The Rwandan, unfortunately, delayed and delayed his trip until it was essentially too late for him to bother coming (that sounds familiar…). So in the final days, it was up to me to find a third jury member. After putting together a short list, I was more than happy when the executive producer of Na Wewe, which nominated for an Oscar last year, agreed to fill in.
Even though I’m a rabid cinephile who watched and reviewed 500 feature films last year, I rarely get to see short fiction films from Africa. So I took great pleasure seeing what else is happening out there. We had one set of DVDs to share, so we watched half of the films on our own and half in a marathon screening the night before our decision was due. And our eventual deliberation was anything but simple.
The first film I saw was by far my favourite - but it ranked last for another jury member. His top film, coincidentally, was by far the one I liked the least. In one sense this made our lives complicated, but in another way it opened up some fantastic dialogue that exposed the way we see things culturally. Where as I was often more interested in filmmaker’s innovation and restraint, another jury member was persuaded by visual flare and professional competency. In films where I saw deliberate artistic choices, someone might see errors and omissions. In stories I found too abstract and unsatisfying, another was touched emotionally without even knowing why. I live for these kind of discussions.
Tonight at the closing ceremonies, we were able to announce our final verdict (Mwansa the Great, from Zambia) and even better, see who took home the local awards. Sitting in the front, I was able to high five almost every single award recipient - usually either a BFC alumni, or in one case (winner of best short film and best script), a soon-to-be student. He has been bugging me for at least a month to take the course, even though he never took the level one training. I’ve had numerous such requests, but based on his persistence, last week I agreed he could be a teaching assistant to at least get all the information. But after his second award, I told him he just earned a seat in the class, rather than fetching me water as I had earlier joked. Some decisions eventually make themselves.
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June 21, 2012
Victims of Our Own Success
What began as a joke on Monday became a harsh reality tonight. We knew the success of our first screening would lead to a lot more people signing up for round two - possibly more than we could handle. It seemed like a privileged problem, so we welcomed the influx of interest. But come show time, we obviously miscalculated the math and underestimated people’s determination.
Part of what made our first Kino special was that it was an open invitation to the entire artistic community. Directors, camera operators and editors were pulled in from across the city, while an onslaught of actors came from as far from D.R. Congo. This lead to a great mix of people and very positive energy as everyone pulled together to get their films done in 48 hours. That same spirit once again prevailed over the past few days, even though, as organizers trying to work within a fixed timetable, we were actually betting against it.
Many teams rushed outside the theatre after the Monday night screening to brainstorm a film under our new theme “Bizarro World (le Monde à l’envers)”. Then everyone came Tuesday morning to sign out cameras. Dozens more actors enlisted to post their headshots on our window and a new schedule was developed to accommodate the popular demand for equipment. I left the lab for about an hour and came back to find our sign-up board filled to the brink with 19 teams enlisted to make films. Here’s the part where I foreshadow the fact we were only given a 45 minute timeslot for the screenings - including the Q&A with each director.
Another unforeseen complication was that this second Kino was midweek. The first was essentially a weekend affair, which meant a lot of production companies were able to lend us their equipment with minimal interference to their daily business. Some of those computers, cameras and even editors were no longer available to us, so we assumed many teams just wouldn’t find a means to finish their films under the even tighter restrains. So we kept the open-arms approach to who could make a film, assuming many wouldn’t find a means to get the job done.
By the time the curtain rose at 7:45pm, it looked like we were right - only about half the films were ready. So we paced out evening accordingly. But be damned if those other teams didn’t all rush into the projection booth during that next 45 minutes with hard drives and desperate pleas to be included.
Cynthia, the night’s MC and one of my students from 2007, was good enough to give us an extra 30 minutes to play more films. But with a feature film screening on our heels, and a couple false starts from glitchy files that were never properly tested, we had to wrap up our screening with no less than 5 films still sitting in the pipeline. One of the directors also had the terrible misfortune of having made a film for both screenings and neither were played (his was the only film we couldn’t squeeze in the first night, so we thought we would just play it Thursday). I was told afterwards he literally had tears in his eyes.
Our Kino manager Rudy, who worked like a manic for the past week, felt incredibly bad about how the night went behind-the-scenes, even if it was out of our control. The organizers at the festival simply didn’t believe we would be able to pull it off despite my early protests, and thought the 45-minute window they gave us was already generous. My spiteful solace was seeing the energetic and enthusiastic audience empty out after our screening with almost no one caring about the next “non-Kino” film. I’d like to say the festival should have known better, but maybe I should have too. With half a dozen unscreened films, and a number of others already in hot demand for repeat screenings, I’m going to have to organize a third (hopefully more relaxed) night to feed out growing demand.
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June 18, 2012
Screening Independence
Some of the longest nights of my life were leading up to the BFC Burundian premieres in 2007 and 2010. Blasting through 36 sleepless hours trying to finalize everything and get all the technical issues sorted out can unfairly age a person. I hoped those days were behind me, but the Kino screening tonight took ‘last minute’ to another level. And yet, once again, I’m happy to report we hit a home run in front of a packed house.
The participants did exactly what I hoped – they experimented with the medium and deviated from straight-forward drama or documentaries. A film about the disabled made excellent use of a fixed camera position for the entire first half, while a hilarious little comedy about a goat and a dog managed to double as an anecdote about the struggle for independence. It was a modest step to the left in many ways, but also unmistakable.
In previous years, I felt our name and reputation were at stake with each screening, since we had a Burundian who’s-who of dignitaries, media professionals and foreign ambassadors in attendance for a very formal evening. Five years later, having already proven ourselves to some extent, the Kino felt more like a huge party. Everyone knew the constraints of the themed 48-hour challenge and reframed their expectations, as the room buzzed with curiosity. And I was as eager as anyone.
No one, including Rudy Kimvuidi our Kino Manager and chief technician, had actually seen all the films yet. Some projects were literally being exported and rushed in to the projection room during the screening. This meant I needed to use some delay tactics on stage, which included a mid-show thank you session and a Q&A with our master of ceremonies Natacha Songore – herself a BFC student and one of the people we sent to Trouville, France, to experience an established Kino first-hand. Our allotted time was unfairly tight, however, so I couldn’t exactly drag things out. But the additional five minutes we found made the difference between having an exclusively Burundian Kino and international participation.
A few days ago, three Canadians came to Burundi to shoot an episode for a television series about street kids. The director, Eza Paventi, is a friend from Montreal and also happens to be one of the founders of the Kino movement from 1999. Her skeleton crew, Kim Nguyen Xuan and Lawrence Côté-Collins, are also avid Kinoïtes and were all eager to participate. Their tight schedule made it almost impossible, but with less than 10 minutes to spare, they showed up with a short 50-second comedic commercial for Lac Tanganika. Having them on stage to talk about the origins of the Kino movement and the surreal experience of now being in sub-Saharan Africa felt like a perfect way to close the evening.
One of my star students from 2010 (and now the Director of the film festival here), gave me a huge hug after the screening and marveled how when I come here, incredible things seem to happen. That was a good feeling, but to be honest, knowing I was able to be more hands-off this time and simply guide the talent left me feeling even better.
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June 16, 2012
The Lab Experiment
Yesterday we held a big meeting to explain the concept of a Kino to all the actors, directors, editors and other interested parties. Rudy and I outlined how anyone could participate in the 48-hour film challenge, but that because we have limited equipment, we are especially interested in people who have their own cameras and/or computers. Each person came on stage to quickly introduce themselves and their goal. We encouraged them take notes and form groups afterwards. Most importantly, we then announced the theme for the Monday screening.
Since this is the first Kino in East Africa, we weren’t entirely sure how people would react to the challenge. So we announced two separate themes – both inspired by Burundi’s upcoming 50th anniversary as an independent country. The first is to create a 50 second commercial about Burundi. The second option is to make a short film (5 minutes max) about “the independence of” any subject they want. Both seemed specific enough to get people focused, but not so narrow that people would feel restrained. We then went outside and started signing up volunteers like we were recruiting for a war.
Part of the fun was announcing each bravely registered director and handing them a badge. It’s amazing how positively people react here to some simple organization. The days before were spent creating our badge, as well as posters and forms that covered equipment liabilities and other logistics. But having people sign papers in the face of a daunting challenge helped solidify their commitment and hopefully strengthen their resolve.
Today we set up the Kino Lab, which is a common room where everyone can come to edit their films. Having teams work in the same space helps keep the energy alive and allows people to problem solve together. Wonky aspect ratios, interlacing problems and dropped frames are the standard nightmares of all amateur videographers. The film festival here, for example, seems to care less about stretched faces and glitchy files. I do, however, so we’re going to do everything we can to present the films at their best.
The Lab itself is actually fairly impressive. We’ve temporarily procured three practically new iMacs and a number of Macbook Pro laptops from local producers who have been persuaded by our resolve. Over 50 actors have their headshots (which we took) and key info now adorning our windows. We even found an artist to place paintings in the only corner of the Lab not stuffed with equipment. Everything is meant to facilitate easier shooting and a more creative conducive atmosphere.
So far we have 10 teams signed up, but chances are they won’t all cross the finish line. Nevertheless, shooting and some editing is already underway as the teams scour the city under the protection of our all-encompassing shooting permits. The government has become uncomfortably restrictive in recent years with cameras in the street. Luckily we know the right people to keep the wheels greased.
The days are long, so it’s hard for me to do much more than skim over the events of the past few days. But as we build up towards our first screening, I look around and can’t help feeling like we have the right mix of raw elements to pull this little experiment off.
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June 13, 2012
Forum for Discussion
Anticipation and concern are the antithetical emotions behind every big build up. I alternated between both over the past few days before the 2012 BFC Forum. I was definitely looking forward to seeing the students I’ve taught and meet the ones that have received training from other BFC teachers. On the other hand, I was worried (based on recent revelations) that there might be a backlash over the broadcasting license for three of our films. Part of me really thought the meeting could go either way.
I prepared and printed an agenda for everyone to make sure we covered all our bases. We opened with a recap of the past five years and what we’ve been able to do here in Burundi in terms of courses and productions. Then we shifted into festivals and distribution, since I knew it was probably going to be the hot topic of the day.
I explained the near impossible prospect of making money on short films since 99% of festivals don’t pay a screening fee. Not even the Festival de Cannes, where I recently had a film in the Short Film Corner. You also have to pay for printing DVDs, submission fees, mailing costs, promotional material, etc. However, I reminded them how lucky we were to be selected for an African television program on TV5 Monde, which paid us €2,700 (about $3,500). That’s enough money, I explained, to do one of a few things:
1) Buy half of a new camera (hard to shoot with)
2) Divide into about $100 for each student
3) Invest into an 2nd level BFC course
I obviously opted for the latter, since the other options wouldn’t have put us any further ahead. There was some debate, not a lot mind you, but most seemed very grateful I had returned and was focusing on further education for our existing students rather than grooming a new batch. Fact is, most people just wanted to know the numbers, which I understand. So I broke down the costs of getting professional DigiBeta PAL tapes required for broadcast, my plane ticket this year, and how the remaining $700 would help with our expenses.
We also talked about our ambitions to have our own office so we aren’t always confused with Papy Jamaica’s business. The strategy of posturing behind his private company has had mixed results. We successfully impress producers who come to visit the BFC from abroad and potential local partners. They see our sign with many people working at computers, equipment everywhere, and even a branded vehicle that bears our logo. That helps us maintain a physical presence in the city, but it also confuses the students, who don’t know where one organization ends and the other begins. The only things the BFC actually owns are the signs themselves, a small cachet of equipment and the stickers on Papy’s van. We’re still looking for our own space, we just need some annual capital to keep it afloat.
After all the housekeeping items, we moved onto some fun stuff. We’ve won a few small awards over the past two years, and some festivals have sent us certificates with laurels to prove we screened at their festival. So I was able to hand some of those out, which was great.
Thanks to Bridget, my wife and one of the original members of the project, I also announced that this year we have grant exclusively for female filmmakers. The reaction in the room was hilariously raucous. The women erupted in cheers while the men cried discrimination. But she’s donating the money from her personal company { First Kiss Films }, so I reminded them she gets to choose how the money is spent. I threw in an improvised detail that we would also have an all woman jury, which just seemed to make sense. Shouldn’t be hard to find, since I’ve only ever come to Burundi with female teachers.
We ended the day by looking ahead at the upcoming month and next few years. Our goal is to hold specialized advance workshops (acting, camera, editing, etc), as well as start to produce feature films, which everyone was enthusiastically on board with. But in the immediate future, we’ve still got a few short films up our sleeves.
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June 12, 2012
Door-to-Door
I’m starting to feel like a politician over here. Not only am I putting up (and fixing) signs, holding meetings with my team on how to best communicate our platform and plans with our “constituents”, but I spent the entire day going door-to-door canvassing all the major video producers in Bujumbura to sell a dream.
Our goal is to recruit participants for a big event we’re holding next week called a Kino. Essentially, it’s a 48-hour film challenge open to the whole artistic community. The catch is that we need people to bring (or volunteer) their own equipment in order for everything to work. It’s only slightly more glamourous than standing on the side of the road asking for hand-outs.
To my surprise, our pitch was met with enthusiasm everywhere we went. In order to avoid the confusions that apparently surround BFC productions, we assured them that they retain full rights to their films. We also told them it’s a chance to try shooting something bold, something different, and see how it plays with an audience. Many were of course worried about the quality of the films, but I had an ace up my sleeve. In October 2011, I co-wrote a film that was produced in a Montreal Kino that was selected as one of the top films in Canada and screened at the Festival de Cannes. That got people’s attention.
By putting in face time with all the major players and explaining how we need them to pull off this initiative, we also built some good will and helped include them in the BFC’s larger goals and activities. Meanwhile, my brave Canadian collaborator Lysandre Leduc Boudreau (who bought her plane ticket two weeks ago to come help me teach, without ever having met me and only talking once on the phone), was also busy running around gathering supplies. Others were doing similar tasks, from making radio announcements to securing the required permissions and locations. Everyone came back with good news to report – people are starting to believe.
In political terms, Wednesday is the equivalent of an election day for the BFC. We’ve decided to hold a 2012 BFC forum and invited our 100+ students to come talk about the past five years, our plans this summer, our hopes for the future, and answer all questions. It will be my chance to set the record straight and hopefully inspire another term. The Kino and upcoming BFC class depend on it. We’ll soon find out if all this campaigning pays off.
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