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I'm the guy who looks at everything to make sure that everything stays Narnian and as true as possible to the book and so on. So I'm really making a nuisance of myself to the other producers and director. Mark Johnson, one of our producers who actually works with us on these movies, put it very succinctly when we were making maybe the first movie. I was in Prague in the Czech Republic and the American ambassador to the Czech Republic was visiting the set. How early did you get involved with the production — when the script was being developed or were you involved before then. I am in the process from before the script begins being developed. This whole thing, all of these Narnian movies, is my project in the first place. That kind of thing. Really I'm involved in just about every facet in the making and the production of the movie and then again, of course, with the promotion of the movie as we're doing today. Can you give an example of something in the adaptation of The Voyage of the Dawn Treader that you took issue with or fought for or didn't want changed from book to screen. Always when you translate a book from the sort of medium of print into a movie, you're going to have to make changes. What happens in these things is that there's a sort of group of people—almost an informal committee—that decide what to do and what to put into the screenplay and so forth. And being a complete and utter Narnia fanatical purist, any comma they moved to me is an anathema. So there are always things that I would rather not have done, and there are always things the director probably would not have done. And he's moved in my direction, and I've moved in his.

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Definitely incapable of shouldering an entire film. He squints and whines, and that's considered acting in this movie. All that said, parts of the film work as they're supposed to, with a few moments of genuine artistry tossed into the flotsam and jetsam. And for that reason alone, and the film's brevity, it's not even a candidate for worst film ever made. Wasn't the reason given for her divorce that she didn't want Suri to be indoctrinated at Study Tech (that's the correct term, right? schools. Katie Holmes was definitely in but is now quite spectacularly out. Add to the list Bijou Phillips, Michelle Stafford, Catherine Bell, Erika Christensen, Grant Cardone, Bodhi Elfman, Ethan Suplee, Doug E. Fresh, Elisabeth Moss, Marisol Nichols (just made OT8), Greta Van Susteren and her husband John Coale. ALSO Charles Manson, convicted Ponzi schemer Reed Slatkin, convicted murderer Rex Fowler, deceased murderer Johnny Lewis, 10 individuals convicted in Operation Snow White, the largest infiltration of the US government in history, and more scammers, fraud artists and other scum beyond counting. People like Cruise, Travolta, Alley, Remini, Ribisi, J. Elfman, etc. are dim bulbs and seem like they could be easily influenced and inducted. Tambor seems far too brainy to let them have too much control over him. Ceberano refuses to discuss the cult in the media but she is totally brainwashed.

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A place has also been found in these chronologies for a handful of important featurelength documentaries—to leave out Ahmed Rachedi’s masterly Dawn of the Damned, the first feature produced in a newly independent Algeria, just because it is a compilation film would have been absurd. I have also included works in the growing category of docudramas or pseudo-documentaries (such as Mahamat Saleh Haroun’s Bye-Bye Africa, chronicling a return to his native Chad), along with films which are treated as features by the organizers of African and Arab film festivals but which do not, strictly speaking, fulfill the conventional length requirements of a feature film (such as Abderrahmane Sissako’s 61-minute meditation on the new millennium, Life on Earth). As far as individual filmmakers are concerned, the guiding principle of this dictionary is that every filmmaker is equal: black or white, Muslim or Christian, speaking English, Afrikaans, or Zulu. The dictionary is therefore concerned with everyone from Niazi Mostafa, who made more than a hundred features over a period of 50 years within the genre constraints of the Egyptian film industry, to Didier Ouenangare, whose co-directed debut feature, The Silence of the Forest (2003), is the first to be made by someone born in the Central African Republic. There are both those endowed with a genius for audio-visual organization and storytelling, and also a few whose hesitant efforts have never, it would seem, merited any sort of commercial release. In general, in compiling this dictionary, I have tried to Introduction be as flexible and inclusive as possible and I have adopted the very liberal definition used by festivals like the JCC in Tunis and FESPACO in Ouagadougou as to what constitutes an “African” film. I have in general used the nationality of the filmmaker as a shorthand for identifying and grouping films, since this is the way in which they are circulated in the film marketplace and listed at international film festivals. This has allowed me to include the work in France and in the French language of such exiled Algerian filmmakers as Merzak Allouache (though he is becoming more and more of a French filmmaker, viewing the Maghreb from outside). Also included is the entire feature production of both Khaled al-Hagar, whose second, semi-autobiographical, feature, Room to Rent, is omitted from official Egyptian listings, since it is a film shot and produced in London and uses the English language, and Youri Nasrallah, whose 2005 double feature The Gate of the Sun is technically a French film. I have similarly included both feature-length diploma films shot at European film schools, such as Elaine Proctor’s On the Wire, her graduation film at the National Film and Television School at Beaconsfield in the United Kingdom, and the work in exile of such young Nigerian filmmakers as Newton I. Aduaka (Rage, 2000, and Ezra, 2006), Branwen Okpako (Valley of the Innocent, 2002), and Adaora Nwandu (Rag Tag, 2006). But there is a problem in that certain 5 films regarded as nationally significant in Africa have not been made by Africans. Even after the founding of the Misr studios in Egypt (where the first feature to be produced, Weddad, was directed by the German Fritz Kramp), foreigners have continued to play a part in Egyptian filmmaking. Throughout the history of South African filmmaking, South African producers have imported English and American directors for their own productions or been involved, as co-producers, in films directed by foreigners. Thus the listings by South African critics and historians include routine films by British directors such as Ken Annakin, Harry Watt, Cy Enfield, Val Guest, Dan Chaffrey, Peter Collinson, Peter Hunt, and J.