Getting a close-up on the disabled

"He also knows about the Disability Care Bill, and thinks the documentary would help get it enacted."

In constructing his story, Ihediwa drew on his training as a feature writer and his training in the Africa Film Project's workshop in Cape Town.

He started by sketching out a plot and making changes to it as he acquired footage. As instructed in the workshop, he collected as many interesting shots as possible, even if he wasn't sure at the time how he would use them.

Of course, he had a mental picture of the storyline that informed the questions he asked in interviews. But nearly all of the interview material got chopped up, edited and moved around before the final edits were complete.

"For the cinematography, I used the lessons from (Jody Hassett Sanchez) and (Greg King) in Cape Town," Richard said.

"I took all interview shots as close ups, and took wide shots on the street. But I also shot in close on the wheels of Sam’s wheelchair. I had to squat most of the time to get good shots of the young men on the rollers, also."

The topic of the documentary has a personal element to it, and so does the simple soundtrack. Taking a tip from AFP trainers, Richard recorded himself playing a few notes on the guitar and he was pleased with the understated result.

He said his motivation in composing the music and the shots was to communicate clearly and effectively about the lives his sources live.

"I want to draw public concern," he said. "That's why I took the time to shoot them begging in the dangerous road."