In July, 1994, production in Bagamoyo was shut down when much needed funding fell through. It took from 1994 to 1997 to raise the funds needed to return to Tanzania and complete three weeks of shooting.
In November, 1997, after a nine-hour flight to London from LAX and an eight-hour layover at Heathrow, with a short stop in Kampala, we arrived in Dar-es-Salaam (a haven of peace). It was the height of summer and stepping off the plane was like walking into a sauna room.
 

The American crew brought the ARRI 35mm camera with all of the accessories, 30 rolls of 35mm film stock, the Nagra, several boxes of audio tape, three large gaffers crates, the boom and its oversized pole (packed in PVC pipe), as well as our personal luggage.  We had a total of 33 checked pieces of baggage. (And that was only after strapping several camera cases together with gaffers tape.)  Upon seeing the volume of items to be processed, customs officials engaged in a heated discussion amongst themselves as to who would take on the overwhelming task of processing us. Nobody wanted the job, especially not in 100 plus heat. It set the tone for the production: FLOW.