Okuhle Media Group has provided exceptional television programs since 2003, as well as a whole production supply chain that includes conceptualization, production, post-production, and delivery services. Their unrivaled track record is proved by the fact that they have provided over 7,000 hours of unique multimedia content to broadcasters both domestically and internationally.

Their traditional strength is the commissions they receive from broadcasters; nevertheless, what actually distinguishes them from the competitors is their expertise in the creation and production of material that can be licensed in a variety of nations, as well as their roots in marketing and advertising. They create and distribute stuff that is beautifully crafted, resonates with people, and is supported by research, critical analysis, and inventive thought. This month, we spoke with Mario Le Grange, who works as a producer and director at Okuhle.

Which of these attributes, in your opinion, makes a TV producer the most valuable asset to a network?

The following, in my opinion, are the most important traits of high producers:

Professionalism. The reality about this market has resulted in losses for some while opening doors for others.

Education and acquired expertise
Management Capabilities
Excellent communication and listening skills
Tenacity and tolerance are both essential.
Understanding the Technological Process
Availability
Skills in Negotiation

Which of the difficult challenges with the production did you eventually resolve?

to make it appear as if a R10 production cost R1 million when it actually cost R10.

What do you look for when reading a TV program screenplay?

Characters communicate with one another and reveal their ideas, feelings, and motivations through dialogue, which is why language is so important in a script. In addition to those aspects, I seek for a script that is well-paced, involves conflict, and has a great hook.

What features of the television show that you helped create do you believe could be enhanced, and how would you go about doing so?

Definitely more time spent on pre-production.

Which movies and television shows have been your all-time favorites over the years?

I like to listen to and watch musicals of all kinds.

Share a little-known truth about yourself that you believe most people are unaware of.

Throughout my career, I’ve worked in over 28 African countries. Working primarily in television as a Multicam/Single Technical Director on a significant number of exceptionally large productions for the South African Broadcasting Corporation and MNET. In addition, I have extensive expertise in marketing, sponsorships, and advertising, as well as acting as an Executive Producer/Series, Production Manager, and Line Producer on many occasions, all of which required the administration of big crews. After graduating from the Pretoria Technicon, I moved on to work in film editing (1983), as an assistant camera and art director, and as an editor for a variety of programs, including documentaries, periodicals, and sporting events.

I began my career as a television program director at the SABC in 1988. Graffiti, Pot Pouri, and Sundowner are a few of the episodes I directed (Magazine shows). In addition, I worked as a senior producer in the music and variety department, where I was in charge of developing a variety of programming, such as game shows, specials, and live concerts. I’ve appeared on a plethora of live shows, including the finale of the music competition show Debuut, which lasted for 13 episodes and was a live show; the Artes presentations, which aired from 1990 to 1994 and were live hour programs; and many more.

Chris du Burgh received a two-hour live show. “Alida White” and “Macufe Festival,” both of which I directed the live show as well as the festival itself, were presented as hour-long specials. I’ve appeared on live Idols Studio shows as well as Project Fame and Big Brother. Endemol Pictures also hired me to conduct training for Big Brother. I’ve also received a number of honors, including the Brigadiers’ award for Best Student Film in 1983 and a nomination for an Artes award in 1995.