T-Port Blog

Jason Adam Maselle (he/him) directed his Lighthouse Selected short film PUNTER, a film that began as an exploration of his dad’s gambling addiction, but ended up as an exploration of his country, South Africa.  

We chatted to the filmmaker, whose work appears on T-Port courtesy of our partners at Salaud Morisset, about the filmmaking landscape that he’s a part of, his inspiration, and watching “The Sopranos” on a loop. 

Hi Jason, would you like to introduce yourself? 

I’m a South African Filmmaker currently based in New York City. I grew up in a country full of wonderfully complicated places and people – and I feel it’s my duty in my films to do justice to the best and worst parts of the people I tell stories about. 

If you could watch one film forever on a loop – what would it be?

Can I choose every episode of “The Sopranos” as an answer? If not, then “No Country For Old Men.”

How many films have you made before this one, and what did each new film teach you?

I made five films before PUNTER – I have learned that pain and failure are the best teachers. 

Do you affiliate yourself with any cinematic or artistic movements, or see yourself as fitting in with any? 

I would love to believe I am a part of a new wave of young & exciting South African filmmakers forging a new South African cinematic identity. 

Some of my favorite South African contemporary filmmakers are: Advik Beni, Tebogo Malebogo,  and Cait Pansegrouw. I sometimes refer to it as “Post-Rainbow Nation Cinema” but I don’t think that’ll catch on. 

How did you first start working on PUNTER? What was the process like and what first sparked the idea to make it?

I really just wanted to make a film about my Dad and his horse-racing obsession. I tried to reconcile how my Dad poured the best parts of himself – his hopes, his dreams, his ambitions – into something as volatile as gambling. How can the best parts of ourselves be used to manufacture our own downfall? Then I realized when I was thinking about my Dad this way, I couldn’t stop thinking about Johannesburg and South Africa as a whole. 

What would you like people to take away from your film?

I hope I leave people with the question – how much can love really save anyone? 

Once you had the idea – how did you go about the production process?

I wrote the film while doing my Thesis at NYU. I just kept sharing drafts with my professors – and I guess I wrote enough drafts until it made a little sense. Then I just asked people much smarter and more capable than I am to help me make it. 

What were the biggest challenges you encountered during production?

Shooting with minors is hard, shooting with a limited budget is hard, shooting in Johannesburg is hard, waking up at 4AM to get to set is hard – but my word is it is all worth it if you’re lucky enough to be working with great people. 

How was it to collaborate with your cast and crew?

I’m currently preparing the feature film version of PUNTER – I want to work with the same people for the feature. That should tell you a lot. 

Tell us about the sound choices in your film

I really wanted people to be overwhelmed by Joburg the same way I am. For better or for worse, sound was essential in doing that. I also used it to keep the film as authentic as possible. The Johnny Clegg needle drop I use in the car also says so much without making it too obvious – it also just feels like the South Africa I grew up in. 

Tell us about your visual choices

I wanted to make sure the audience was always on the verge of a panic attack. 

What would you do differently if you could go back and do it again?

I’d be a bit braver – I’d maybe be a bit more patient. 

Did you have a specific strategy for promoting your film? 

I just want the film to be seen by as many people as possible – that just meant applying to a lot of festivals. Once my Sales Agents came on, I felt like I was in good hands. 

What did you find (or still find) as especially lacking in the process of distributing and promoting your film? What was especially challenging?

I find the most impactful and meaningful promotion happens when you’re present at the film’s screening – shaking someone’s hand and smiling as they tell you how much they loved your film forges a bond that has more potential for future collaboration. The costs of traveling and being present for each screening is astronomical. 

What do feel young film talents lack the most today, after graduating from film school? Where are the gaps in the film industry?

I wish people were more vulnerable and selfish with their storytelling! I hate the concept of making a film for a specific audience – I love films that are made by filmmakers who are brave enough to show you little pieces of their heart. 

If you were to have infinite resources – walk us through your fantasy film project

I get to pay everyone on the crew and cast really really well – and I don’t have to have anyone nagging in my ear about what the film is supposed to be. 

What’s next for you?

PUNTER’s feature film adaptation! I’m currently deep in development – and I couldn’t be more excited to show more of these characters and this world. 

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