MARK VICENTE     • Africa in the 60's - That's me and my dog Rex. He was a Rhodesian ridgeback and he went everywhere with me. We had wild leopards and not a few poisonous snakes where we lived. He was my protector. Broederstroom, South Africa 1969. • Me and Beertjie - This was the birth of the good little boy personality. The one who thinks if he is perfect enough he will not be abandoned and he can guarantee love. Durban, South Africa 1970 • The good Boy - A picture of me with my Mom and Dad. Circa 1971. • Me on Jobman - I was a first Assistant Cameraman for my DP friend Paul Witte. Darrel Roodt was the Director and the film was called "Jobman". For 12 weeks we lived in a town of about 400 people in the Karoo in South Africa. It was a remarkable experience. Even though I worked for Paul I was always trying to prove that I was better than him and that one day I would take his Job. Darrel used that as a ploy to keep pushing Paul to greater things. Karoo, South Africa 1987. • Me and Darrell/ Jobman - This is me and Darrel Roodt on the steps of the camera truck on Jobman. My T-Shirt has a picture of the then Prime Minister P.W. Botha. I can't remember what it said but I guarantee it was nasty. Karoo, South Africa 1987. • Desert Rats - The camera crew on Jobman. We were a ragged bunch of desert rats. Karoo, South Africa 1988 • Move over - Paul and me an a crane. He always had a habit of cramming my space so I always had to push him over. Karoo, South Africa 1987. • A Gloomy Day - Darrel, Paul and myself. Utterly depressed because the scene we'd begun to shoot in beautiful sunlight was now giving way to one of those torrential desert thunderstorms. Paul died shortly after this film with another very good friend of mine, Dominique Moser (his girlfriend) • To the Death - After Paul's Death Darrel asked me to become his cameraman. I was so torn because I had always wanted to and yet I felt weird about filling my deceased friends shoes. I told Darrell I would think about it. I knew I was going to say yes, I just didn't want to be perceived as greedy and insensitive. This picture show me and Darrel preparing for and underwater cat fight between the two actors shivering next to us. Johannesburg, South Africa 1990. • Let's do a close up - Trying to convince Darrel that if John Barret walks into the room and ends up here well get a great close-up. Johannesburg, South Africa 1990 • Dancing - Next came Sarafina. This involved 12 weeks shooting in Soweto sometimes on Garbage dumps like the one pictured. It was my big break shooting something I cared deeply about. It was an extraordinarily emotion experience making this film. Soweto, South Africa 1991 • Crowd - Me, Darrel and my operator Paul Gilpin looking a little out of place in the crowd. We were preparing for a large face-off between the schoolkids and the riot police. Soweto, South Africa 1991 • Crane Shot/ Sarafina - Me and my assistant on a crane shooting a hauntingly beautiful song for Sarafina. Soweto, South Africa 1991 • Russian march - Kids marching to kill an abusive policeman/ Sarafina. Darrel had written in his shot notes for this scene "Russian - very Red" I decided that the literal interpretation of that would be great. Hence the fiery nature of this shot. Soweto, South Africa 1991. • Me and Whoopi - Whoopi was remarkable to work with. I was extremely young and nervous and she did a great job of putting me at ease. On the first day of shooting I had to steady the lightmeter with both hands because I felt like In was shaking. She looked at me and confessed that she was extremely nervous. "You? I said." "Yeah" she said "I'm always nervous on the first day". Later on I realized that she had probably done it for my benefit. Soweto, South Africa 1991.