Ace musician, Akon teams up with Nollywood renowned Director, Jetta Amata to release a Hollywood action flick titled Black November.
The new trailer of Black November shown below tells a lot that post-production is a very key and vital aspect of film making. This movie is a brilliant story which is intended to garner a larger audience and not just to entertain but to deliver a pertinent message of concern to all.
This much anticipated action packed movie by Jeta Amata will be first made available to the American audience on January 9th, 2015 and can be watched via theatres, Video-on-Demand (VOD) and iTunes. It will then be available in Africa by the 30th of January.
The action flick is a synergy between the western movie powerhouse Hollywood and our own Nollywood, a fusion that added much elements of explosive action and quality visual-audio effects which are the particular trademark of the Hollywood film producers.
The movie is full of action with a star-studded cast but tampered with a moral message against exploitation of the dispossessed people and corruption of power with a special concern for the environmental damages due to excessive oil drilling in the Niger-Delta area in Nigeria. Some of the casts in the movie include, but not limited to: Akon, Wyclef Jean, Mickey Rourke, Kim Bassinger, Anne Heche, Sarah Wayne, Vivica A. Fox, Hakeem Kae-Kazim, Razaaq Adoti, Tina Redmond, Mbong Amata, Ibrahim Aba-Gana, Fred Amata, Robert Peters, O.C. Ukeje, Zack Amata, Asenshion Amun. Most of the names are not new in both Hollywood and Nollywood, as they are a ‘constellation’ of stars that have held the imagination of the entertainment industry for many years. The mention of the star studded cast alone is able to pip the interest of the movie aficionados. Even more so, when it is combined with the maestro direction of Jeta Amata, a name that rings a bell in the Nollywood film industry.
Producers: Jeta Amata, Bernard Alexander, Ori Ayonmike, Marc Byers, Hakeem Kae-Kazim
Director of Photography; James Costello
The movie is about the overexploitation of land and extensive damages to the environment coupled with dispossession of the hapless people that happened to the abode on land and having to bear the price of this greed is the proverbial ‘last straw that broke the camel’s back’. They organized a band to kidnap an American oil executive and demanded that their voices be heard. The movie was actually inspired by an actual event. As such, the flick with its anticipated large audiences garnered help to give a voice to the cause of this particular and pressing issue that is impacting not just Nigeria but the wider continent where the effects of globalization and zealous commercialization have led to the over exploitation of natural resources often with the adversarial consequences to the poor and indigent people.
The hapless masses who derived little from the proceeds of global insatiable appetite for natural resources but have to bear the wrath of environmental damages is a very clear and realistic issue today. Raw materials are much needed as fodder to the engine of growth driving the world’s economy and much of it are sourced from the continent.
Ex-Minister of State for Defence, Senator Musiliu Obanikoro has allegedly sued online newspapers; Sahara Reporters, Punch Newspapers and Premium Times over defamation of personality.
The defendants are Omoyele Sowore, Publisher of Sahara Reporters, Festus Owete, General Editor at Premium Times and the Punch Newspapers.
The BreakingTimes reported that the accused had published an audio recording of Senator Musiliu Obanikoro, purportedly in a conversation with other individuals to rig the Ekiti State gubernatorial elections, an allegation Senator Obanikoro and the others have since disclaimed.
In a suit filed at the Lagos State High Court Ikeja on Tuesday, 10th February 2015, Senator Obanikoro is suing the defendants for damages to the tune of N1 billion.
According to the suit filed on his behalf by Dr. Yemi Oke of MJS Partners, Senator Obanikoro is seeking;
“1.) An order of perpetual injunction restraining the defendants from publishing or causing to be published either directly or indirectly, defamatory, damaging, offensive or degrading statements, articles and/or materials against the claimant. 2.) An order directing the defendant to jointly or severally pay to the claimant the sum of N1 billion being damages for harm caused to his political, professional, business, social and institutional reputation as a result of the defamation by willful and scandalous publication of false statements by the defendants. 3.) An order directing the defendants to retract the false and damaging publication by a letter of apology directed to claimant and published on the same media through which the defamatory publication was circulated. 4.) An order of court for the cost of this suit against the defendants.”
Ladies and Gents, we are live yo… The AMVCA 2015 coming to you live from Eko Hotel, Lagos, Nigeria.
18:58 – Tayo Faniran presents Best New Media Video Online Award. The winner is Imoh Umore for “Hard Times”.
19:01 – Sika Osei and Ozzy Agu present Best Short Film Award. The Winner is Ekene Mekwuenye for “Oblivious”
19:04 – Kaylah Oniwoh and Emmanuel Ikubese present award for Best Drama Writer. The winner is Tunde Babalola
19:08 – Guests are still walking in, nicely dressed, faces heavy with a smug glow and all of that.
19:10 – Uti Nwachukwu and Eku Edewor present Best Comedy Writer Award. The winner is Tunde Babalola for “The Meeting”.
19:13 – Venue is almost completely packed. Quite a massive show happening here tonight.
19:26 – Gbenro Ajibade and Kemi Kemi Lala present Best Cinematography Award. The winner is Stanley Ohikuare.
19:41 – Mavins Crew up on stage but there’s no Tiwa Savage. Don Jazzy is in blue Agbada while D’Prince has a blue suit on.
20:06 – Iretiola Doyle and Yemi Blaq present Best Documentary Movie Award. The winner is Yvonne Bassey for “The Gift Of The Nile”.
20:10 – Basketmouth is on stage and cracks everyone up with the infamous white and gold/ black and blue dress. He throws shade at D’banj, Tonto Dikeh and Dame Patience Jonathan.
20:20 – Femi Jacobs and Verve Marketing Manager present Best Supporting Actor (Drama) Award. The winner is Blossom Chukwujeku.
20:24 – Kehinde Bankole presents Best Supporting Actress Award. The winner is Linda Ejiofor.
20:29 – Helen Paul and Chinedu Ikedieze present Best Actor in a Comedy. The winner is Femi Jacobs.
20:47 – Tuface Idibia and Lola Rae perform “Let Somebody Love You”.
20:54 – Funke Akindele presents Best Comedy Movie Award. The winner is “The Meeting” (by Rita Dominic and Mildred Okoh).
20:59 – Kate Henshaw and Brand Manager of Nigerian Breweries present Best Movie (Drama) Award. The winner is Steve Gukas for “A Place In The Stars”.
20:59 – The winner, Steve Gukas, goes home with a million naira and 6 months’ supply of Amstel Malta.
21:05 – Rita Dominic presents New Era Award. Ayo Makun (AY) wins for “30 Days In Atlanta”.
21:07 – The ambience is soft and warm. Star-filled too, but nothing really extraordinary happening.
21:14 – Short break at the AMVCA 2015.
21:15 – Eulogy for the fallen Nollywood maestro, Amaka Igwe. A short video of her lifetime is currently showing at the awards venue.
21:19 – A posthumous award has been presented to late Amaka Igwe. It was received by her husband Charles Igwe.
21:20 – Amaka Igwe was presented with an Industry Merit Award.
21:45 – Kunle Afolayan’s “October 1” wins for Best Movie of 2014.
21:50 – Psquare performing “Shekini” at the AMVCA 2015.
22:00 – Don Jazzy joins the duo on stage to perform the hit song, “Collabo”.
22:00 – AfricaMagic (@Africamagictv) is now trending in Lagos.
P Square closes the AMVCA 2015 with their performance, quite a thrilling show in all.
And it’s a wrap! Join us next year for a better version of this. Peace!
Fortune Kezi Ejim is a Port Harcourt-based film-maker; whose short film, The Strangers, won three awards (Best Cinematography, Best Directing and Best Sound) at the 2014 International Short Film Festival, InShort. A few years ago, his short film script, Choice, won a N1 million grant at the HOMEVIDA Awards and was subsequently made into a film.
Wait for this: Ejim shot the video for Tiwa Savage’s Ifewagbona. He tells us his vision and goal as a film-maker who has shot several projects for popular plus up-and-coming colleagues as he warms up for the release of his first feature film, The Wind.
Educational Background:
I had my primary education at St. Peter’s State School 1, in my home town, Isiokpo, the headquarters of Ikwerre LGA in Rivers State and my secondary education in three different secondary schools namely: Igwuruta Community Secondary School, Igwuruta (JSS 1-3), Bishop Crowther Memorial Secondary School, Rumubiakani Port Harcourt (SSS1) and Government Army Secondary School, Elele (SSS 2-3). All secondary schools are in River State as well. Afterwards, I proceeded to National Film Institute (NFI), Jos where I obtained a Professional Diploma in Motion Picture Production (Film) and a Bachelor of Film Arts. Additionally, I’ve got a Master Lighting Certificate and SHOOTcertificates in Film-making and Animation respectively.
2. Life Before I Turned a Film-maker
As a growing young boy, I played and did things in common with my peers until sometime around age 9/10 when I devoted most of my leisure time to drawing. I drew anything that caught my attention, ranging from the then WWF wrestlers, footballers, popular musicians/models to animals, cars – justto mention a few. In JSS3, one of my landscape drawings was entered for an exhibition even though I never got feedback. This part of me gave way when I was in (SSS1); then, in (SSS2) my passion for acting and photography were born. So, before I became a bonafide student at the NFI, I had done lots of stage acting in secondary school and beyond as well as featured in some Nollywood films like Armadillo, Nze na Ozor, etc. I also did a bit of street photography. I am quite renowned in my locality because of my meticulous nature and the zeal to do it well. I actuallyrevolutionized photography in my hometown.I was the first to take snap shots with a 300mm telephoto prime lens, which then became the trend.
3. The Switch to Film-making
I barely worked in any other field outside the entertainment industry. The issue was forgoing my initial ambition for Film-making. As a kid, I had always dreamt to study Aviation and become a pilot, but change came when I discovered that acting and photography were my passion. It was almost impossible to convince my parents on the need to study Theatre Arts, which was my first choice as against Aviation or any other science-oriented course. The battle was swift and fierce, but as God may have it, my mum who forbade me shunning sciences for anything else was the one who brought me the information on NFI. Although I lost a few years to the struggle to be an icon in the entertainment world, I’m living my dreams now. For me, film is not just an art, passion or hubby, it’s my life.
4. Works:
The Strangers is not my first short film. Back then in film school, they instilled in us the zeal to shoot films “practice makes perfect, they say”. Those of us who were really passionate about Film-making converted the slightest opportunity, time and resources into shooting films. As a film student, I made four (4) short films and fortunately each of them either won awards or was nominated. I also made two attempts at music videos.
After film school, I shot three other short films and adocumentary namely: Choice, Dark Quest, The Strangers and Red Line respectively. And they all have awards to their credit. The award for Choice was at the level of scripting. It won a one million naira(N1m) grant for its production courtesy Homevida Scripting Competition, Abuja.
In addition to my personal short films, I’ve shot a lot others as a Director of Photography (DoP) either for my colleagues or on commercial bases; including Night Fall, Little Babel, Nkiru – for 37th State and ABC of Death – for Lancelot Oduwa Imasuen just to list a few. I have also worked on a lot of feature films either as a DoP, a director or both. Some of the projects include: Passion of a Lilly of the Ghetto, Passion of a Widow, Adesuwa, The House, In between the Lines, Green Eyed, Miss Teacher, The Reincarnate and my debut feature film, The Wind. I have not really explored music videos; however, I shot Tiwa Savage’s Ifewagbona video, which got 7 nominations including best cinematography and won two in the Nigerian Music Video Awards NMVA, 2012.
TV Series: I think I’ve shot three, Diamond Republic, 2009 in Jos, then Pristina (working title) and Losing Control, produced by the iconic Emem Isong. Although my website “www.kezipix.com is currently under construction, details of my works, honours and more can be seen there.
5. Budget for The Strangers
I raised money for The Strangers from my personal savings. The budget for The Strangers was five hundred thousand naira (N500, 000.00). The short film is all about love. The Strangers was inspired by my urge to preach LOVE, which is the greatest of all the commandments yet is almost going into extinction. Human beings’ radical quest for wealth and success, which have led to the demise of conscience, is destroying the world. We’re forgetting that love is the bedrock of wealth and success. Please, it is important to note that wealth and success without love are doom/disaster. A critical analysis of the Nigerian situation today will attest to this fact.
6. The Strangers: Awards
The Strangers was among the 10 nominated short films in the 2nd edition of the Afrinolly Short Film Competition, where it competed with about five hundred (500) other shorts from around the world. The Strangers went ahead to pick up the Best Cinematography Award in the said competition. Any of the 10 nominated films could have won any of the Afrinolly cash prizes. Unfortunately, we didn’t win a cash prize because of votes. I realized my film was nominated 2 daysto the end of voting period and worst of all, I was on set shooting a TV Series (Pristina), hence couldn’t mobilize enough votes.
7. High and Low Points of My Career
Hmm, big one: To the glory of God Almighty, my career has enjoyed a lot of high points, owing to the fact that practically every project that I have been part of has at least been nominated and in most cases won awards both locally and internationally. For me, that’s inspiring. Even before the Oscars created a category for us, I’ve always envisioned my film winning an Oscar and I see it materializing pretty soon. The other high point of my career is winning some awards that have cash prizes… you know what that means… (smiles). Furthermore, doing stuff totally differently from the conventional ways also mark some high points in my career. For instance, in one of my short films, Three Zero, I had a character whose mind had conflicting opinions i.e. good/bad and I needed the argument to be physical. As against locking the frame and having the character play out the roles of the good and bad minds as well as herself, I chose to pan from the real character to the bad/good minds of the same character. And the three characters were, of course, interpreted by the same person. This innovation wowed everyone that saw the clip and I felt really good because it is completely my initiative.
However, my blossoming career has also had some low moments. In an attempt to answer this very question, I took a while to evaluate the low points of my career just to find out that it can’t be separated from funds. My ambition and creative ingenuity as a film-maker haveon several occasions been hampered by finance.For instance, what is coming out as my debut feature film now was not to be. After scripting my purported debut feature film, I evaluated it and the cost was really huge. I really needed to make a statement with that film. I made several attempts to get sponsorships to no avail mainly because I am a young film-maker. As a progressive individual, I had to return to the drawing board and emerged with the story/script for The Wind, which is today my debut feature film. It suffices to say that as soon as I have the financial strength to execute that other project, I’ll not hesitate because it is an evergreen kind of story that can be likened to The Titanic and films like that.
8. My New Project
My debut feature film,The Wind, though fictional, is inspired by a few factors drawn from reality. It is a contemporary film that spans over a decade. It is an inspirational film that also explores the themes of poverty, charity, agony/pain and forgiveness. The Wind thrives on a 3-1-2 plot pattern and runs for close to 2hours. It has both urban and rural settings and is delivered in the English language except for a few exclamations and maybe music.
The Wind brings is the story of an iconic lady, Winnie Martins, who at age 28 is already a world figure with lots of awards (local and international) to her credit. She is a giant in the world of charity and philanthropy yet practically from a nondescript background. Poverty was one of the major antagonists in this film. In the face of all these, Winnie dreamt big and was willing to go beyond the horizon to accomplish her dreams. She went through thick and thin. And in the long run, she becomes one of the most celebrated women in Nigeria, Africa and the world at large.Some of the notable actors in the movie include: Kalu Ikeagwu, Uti Nwachukwu, Seun Akindele, Segun Success, Joy Success, Lawrence U. Lawrence just to mention a few. Some up-and-coming stars also aided the success of this spectacular piece of art, namely: Princess Okah, Victoria Ubani, Joy Akamgba, Stella Emmanuel, Justice Slik and a host of others. It is noteworthy to say that Princess Okah is not just a talented actor, she is a wonder lady. Considering the complexity of the character “Winnie Martins” and Princess’s ability to interpret this role at every level, she is an exceptional actor. That’s not say the other guys didn’t do well. They are all impressive.
I sponsored The Wind myself. Over the years, I’ve worked and saved some cash and I had also won some awards with cash prizes. So, I pulled through the project with my savings. The Wind was shot in River State. The village sequence was shot in my home town, Isiokpo, while others were shot in Port Harcourt and its environs.
Not blowing my own trumpet, fact is that The Wind is quite captivating, thrilling, intriguing, hilarious, motivating, action and suspense-packed. I bet it will keep anyone who comesacross it glued to the screen. You sure would not want to blink while you see this piece. It is paramount to state that in addition to the entrainment,The Wind is a therapy for broken hearts and despairing people. The Wind is a must-see for all.
9. Prospects and Challenges of being a Port Harcourt-based film-maker
Em… first, I think one can make a difference where one finds oneself. So, I refuse to see a barrier in location. Besides, I won’t be mistaken if I call Port Harcourt/River State a virgin ground as regards film production; hence one has a lot of options to choose from regarding film locations. There are lots of talents in this state and that’s a huge plus. Record has it that the University of Port Harcourt has produced most of Nigeria’s finest exports in terms of actors/actress. Also, we are beginning to have people in the hospitality world, who are willing to aid film production in the city with very good rates for accommodation. At the moment, the city is free of touts and their dubious activities, so one can shoot all day and night without any form of molestation. The security situation in the city and state iscommendable and it is an advantage for film production-cum-business, in general.The absence of commercial motorcycles (okada) is also a plus for the sake of good film sound. Again, the weather here is beautiful, not too hot and not too cold. My only advice on this note is: don’t fix your shoot here in the heart of the rainy season except, of course, the story has a lot to do with rainfall.
On the other hand, like Lagos in the South West, Port Harcourt is the busiest city in the South-South of Nigeria, so such challenges as traffic can’t be ruled out. My next point isn’t peculiar to Port Harcourt, but Nigeria at large. Muchas the urge to make good films is high now, there are just a few individuals who understand and speak the real film language mainly in terms of technicality. And a lot of logistics is required to assemble these core film professionals. But then, many people are now undergoing professional film training in institutes and universities. So, I leave this aspect to time.
On the part of the state government, I wish they do just two things and Rivers State will be the hub of film production in Nigeria. They should build a film village. Once that happens, I guarantee a swift migration to the state in terms of film production. The essence of a film village cannot be overemphasized. They should encourage indigenous film producers. Film grants and soft loans will do the magic. Rivers State is endowed with lots of cultural heritages and our stories are yet to be told.Whoever really understands it won’t hesitate to tap into it.
10. Nollywood: Advancement and Challenges
Anyone who is conversant with the film history in general, the history of Hollywood and the other renowned film cultures in the world will attest to the fact that Nollywood’s growth can only be best described as “divine”. Nollywood is yet to celebrate a third decade of its existence yet has long become of one of the biggest film industries in the world. And the good news is that this is just the beginning. For the first time in our history, we now have institutions in the country dedicated to professional film training. People now study Film Production, strictly, up to the Bachelor’s degree level. I’ve always said that the problem with Nollywood movies isn’t acting, but technicality. However, with the advent of the National Film Institute, Jos, of which I and a few others are proud products, challenges of technical know-how will soon be history in Nollywood.
Again, the revival of the cinema culture is a great plus to the success of Nollywood. Today, we can boast of about 50 screens and in the nearest future, it is expected that there will be a rapid increase in this figure, considering the reforms Nollywood is undergoing courtesy the Federal Government. Hollywood and other developed film industries can afford to invest hundreds of millions of US dollars in just one movie because there is a ready market for it. The US alone has far more than 5,000 cinema screens. Besides, such films are not limited to just the US screens. Once the film is good and you have distributors, your film can screen globally. Such Nollywood films as Invasion 1897, Half of a Yellow Sun, 30 Days in Atlanta and a host of others have already enjoyed global exhibitions. All you need do is make a good film. Therefore, I make bold to say that the best is yet to come from Nollywood. Its future is more than bright.
It suffices to say however that Nollywood needs investors. Film production requires a lot funds. Though a few films were mentioned aboveas enjoying global exhibition, one cannot overlook the fact that those are very high budget movies from the Nigerian perspective. Therefore, to get it right, finance is very essential. In a nut shell, I am saying that Nollywood needs investors. The film business is a very lucrative one and with the innovations in our marketing structure now, chances of incurring lossesare slim except, of course,you don’t have the right product.
Looking at the challenges and prospects of Nollywood, there is absolutely no way piracy won’t be mentioned. In fact, it is one of the worst challenges this rapidly growing industry is facing. I call film a mother art because it is a collection of several other arts like scripting, acting, music, set design, make-up, cinematography, directing and a host of others. Besides, it takes so much time, energy, technical know-how as well as recourses to put a film together. And after going throughthick and thin to produce a movie, someone sits in the comfort of his home or office to reap from the labour of others. And the most appalling part is that there is yet to be, at least, a conviction for the perpetrators of this heinous crime.I am of the opinion that addressing piracy and related issues should be top priority on the government’s list; else we’ll just be moving in a circle.
To further buttress my point, in recent times, Nollywood has witnessed some serious piracy. Half of a Yellow Sun, for instance, was on DVD and being sold all around the country even before its official cinema release date in Nigeria. I am sure we understand the implication of that. 30 Days in Atlanta too was already being hawked on the streets in various cities in this country while it was still in the cinema, way before its official DVD release in Nigeria. The producer had to employ the electronic media, asking people not to patronize the pirates and all that. In any case, the movie was pirated. Piracy is a crime against God and humanity and should be seriously frowned at.
11. My Role Models in the Industry
I admire James Cameron a lot. For me, it is not about how many films one makes, but the impact of such movies-cum-the impression they leave in the minds of the audience. We all know Titanic, an evergreen movie and a standard even for generations to come. The same man made the movie Avatar soon after Titanic, but no he didn’t. Why? Because he felt technology wasn’t where it should be for what he was set to do. Cameron had to hold on. No compromise. And eventually, when he felt the time was right, he struck and left us with another masterpiece in the film Avatar.
Back then in film school, I heard so much about Tunde Kelani and saw a few of his movies. He is one of those individuals that you can’t avoid to mention if you must successfully discuss film in Nigeria. I was privileged to have a one-on-one session with this veteran and award-winning cinematographer/director and I asked: “TK, do you set out to make a movie just for the purpose of winning awards, considering you have a lot of film awards to your credit?” He answered: “I don’t make films to win awards, I just do my best in each production and if anyone finds it worthy of an award, good”. This response didn’t just humble me; it changed my perspective about Film-making instantly. And to God be the glory because practically all the movies I’ve worked on have won awards or, at least, have been nominated.
Another film-maker I admire a lot is Lancelot Oduwa Imasuen, De Guvnor as he is fondly called. This man isn’t just passionate about Film-making, he is meticulous. Lance must hit his target each time. He is a star maker. No wonder he is one of Nigeria’s pride and most valuable exports when it comes to film directing.
12. The future
Much as film-makers are not as popular as actors, regular film-goers easily reckon with such directors that have distinguished themselves. I want to be an “A-List” film-maker and be reckoned with far beyond Africa. The idea is to make a bold statement with each of my projects. I have to win an Oscar sooner than later. I intend to further my Film Studies. Furthermore, I intend to own and run one of the most reputable film companies in this part of the world.
13. A word for younger film-makers
First, it is important to note that life is not a bed of roses. However, opportunities abound, but without your address. So, each of those opportunities ends up in the hands of the first grabber. However, you have to be well positioned to grab it. GET TRAINED. PRACTISE. At this formative stage, don’t make money a priority. Some jobs might come with little or no financial value, but might link you to your fortune. Please, give your best to any project you lay your hands on because you never can tell its future. Envision a future for yourself;stay true to that course. This won’t be easy. People won’t encourage you; infact, you’ll meet dream killers. Even your loved ones will desert you. Trust in no man, but God. Push on and one day, you’ll break even. Note that you are not better than anyone and no one is better than you are. What makes the difference is time plus how you present yourself.
The abridged version of Yvonne Bassey’s AMVCA-winning documentary, The Gift of the Nile, is undoubtedly a masterpiece. The research and information that went into the work is mind-blowing.
Bassey takes us on a journey through the land of the Pharaohs, uncovering the wonders of a civilization that dates back many centuries ago. The film connects the River Nile with the worship of the Sun in ancient Egypt and goes on to talk about the various Pyramids in Egypt and their significance.
It is surprising to hear that some of the pyramids served as the final resting place for the Pharaohs and that people went to steal the expensive ornaments with which the royals were buried.
It calls to mind the legend that Tutankhamen’s tomb was accursed, though Microbiologists believe that the said curse on his tomb were spores of Histoplasma capsulatum, a fungus which causes histplasmosis, a rare, fatal systemic/deep-seated mycotic (fungal) infection. It was said that anyone who went to Tutankhamen’s tomb, attempting to steal, died afterwards.
Bassey is commended for commencing a conversation on the age-long controversy over the existence of any kind of civilization in Africa before colonialism. It will be interesting to see the thirty-minute version as the 9-minute motion picture only serves to whet one’s appetite.
Tam Fiofori recalls a forum where Toyin Akinosho of the Committee for Relevant Art (CORA) observed that older filmmakers shy away from collaborations with younger ones; coaxing Fiofori to identify Joel Benson, a younger filmmaker, with whom he has now produced two films – J. D. Ojeikhere: Master Photographer and Olu Amoda: A Metallic Journey.
A Metallic Journey narrates the story of Olu Amoda, an artist, who has sculpted monumental pieces, using metal as his primary tool. Amoda, who sees himself as a modern-day archaeologist, goes gathering metals all around town in order to maintain the supply of his ‘raw material’.
He constructs A-Line skirts with funnels, which are truly impressive installations and in one of the pieces, he even designs the funnel lady as she performs the break-dance. His use of nails in assembling massive installations is awe-inspiring.
Fiofori and Benson capture Amoda’s art in a most vivid fashion, interviewing Omoba Yemisi Shyllon (renowned art collector and founder OYASAF), Adebisi Aderonke Arije (artist/art critic) and Chief Arthur Mbanefo (art collector/former Nigerian Ambassador to the UN).
In his Queen of the Night Series, which features sculptures of scantily clad ladies, who work as prostitutes, Arije chooses to interpret the art as another way of expressing the beauty that God has created in women rather than art that debases women, since according to her, she is a humanist rather than a feminist. She remarked that the female form is one of the most profound forms from which Amoda draws inspiration.
Shyllon, whose commodious compound is replete with Amoda’s works, posits that the level of imagination in Amoda’s works is enviable; affirming that Amoda will make a lasting impact in the world.
Indeed, Fiofori has put his money where his mouth is. He contributed a piece to the defunct 234next(next on Sunday) a few years ago, which he concluded by stating that, ‘We grumble about BBC’s documentary on the challenges of building a mega city like Lagos.
‘Recently, Aljazeera aired its own documentary, Streets of Lagos: much the same, with visual emphasis on Makoko, street trading and a slap-in-the-face shot of a scavenger; waving a huge Nigerian flag in the middle of a rubbish-dump mountain. A few hours after the bomb attack on the Force Headquarters, Abuja, Aljazeera aired a quasi-documentary on Boko Haram.
‘The inability and reluctance of Nigerian TV stations to air many documentaries are down to twin reasons. A lack of a budget for documentaries tied to the reality of not wanting to pay well for independently-produced documentaries and a lack of the creative foresight that most TV programmes other than the News are farmed out or sourced from independent producers.
‘Luckily, the Film Institute in Jos and Mass Communications departments in Nigerian tertiary institutions are yearly producing the needed manpower. Depending on corporate and social documentaries for which the sponsors pay air-time cannot compensate for the relative dearth of a spectrum of documentaries Nigerian TV stations should screen daily.
‘To a great extent, it is their social responsibility.’
Needless to say, Fiofori also sees documentary film-making as his social responsibility and is not only deploying his widow’s mite in producing them, but is now collaborating with the younger generation. Kudos.
The producers of Olu Amoda: A Metallic Journey should reverse the names of Yemisi Shyllon and Adebisi Arije, which were mistakenly interchanged for each other towards the end of the film.
Ekene Som Mekwunye attended Fountain School, Surulere, and Government College, both in Lagos. He also attended the University of Lagos (UNILAG), where he studied … He is currently enrolled for an Executive MBA at the Lagos Business School, Pan-Atlantic University, Lagos.
Mekwunye first studied Film-making at the eponymous Amaka Igwe Studios under Amaka Igwe, the renowned film-maker of blessed memory. He then went on to the New York Film Academy at the Universal Studios, Los Angeles, USA to obtain more knowledge in Film-making.
At the recent 2015 Africa Magic Viewers’ Choice Awards, the AMVCAs, Oblivious, Mekwunye’s short film was crowned the Best Short Film of the year. He discusses his mission in the film industry with us.
What were you doing before film-making beckoned or have you always worked in film?
I started my career in Advertising, but decided to go into production because the firm I worked with at the time needed help in production. We had also delved into content creation and also needed to shoot pilot episodes, but always got stuck there. So, I decided to learn production, but didn’t know where to go until I met the late Mrs. Igwe and learnt what I could from her.
2. Is Oblivious your first short film? If not, could you tell us about your other works?
Oblivious is my first short film after film school. I shot a short film in Los Angeles as a requirement for finishing from the film school I attended. But after I returned to Nigeria, I decided to write and shoot Oblivious.
3. How did you raise money for Oblivious, how much did it take to make the film and what is the film about? Why did you go for co-directing rather than doing it alone? What did you learn from co-directing the movie?
Oblivious was a ‘No Budget’ Movie (If there’s any term like that). I barely had any money at the time. I read the story online and decided to write the screenplay for it. It’s a popular online story about a man that asked his wife for a divorce and she gave him conditions. I collaborated with my friends, Stanlee Ohikhuare and Grace Edwin-Okon to make the movie. Stanlee had promised to help me with equipment since he had all the equipment needed. He was preparing for a production with Grace at the time, so he asked her to help out in co-producing; so I could have more room for directing, though Stanlee did a lot of the directing and editing. I barely had money to pay for many things, so I improvised. I took some of my wife’s old clothes as well as her wedding gown and my clothes as costumes for the actors. I made sure they were properly dry-cleaned. My younger sister, who is a hair stylist and make-up artist, did hair and make-up, so she didn’t ask me for money. I used the houses of my parents-in-law and a friend as location. I asked my father-in-law for his Hilux truck which I used for logistics. I had to borrow money from my wife (which I am yet to pay back) to pay for the meals, cast and crew. It was an interesting experience working with my friends plus the cast and crew as nobody really worked for the money, but to see that we had a good film.
4. Are there other awards and recognitions that Oblivious has clinched? If there are, could you tell us about them?
Oblivious was nominated at AFRIFF 2014 and also screened at the Eko International Film Festival. The AMVCA is the first award it is winning. These are the only awards it was entered for.
5. What are the high points of your career and what are the low points (if any)?
As an entrepreneur, being able to survive the first few years will always be a high point. But in terms of picking events, I would pick two: when I finished the first season of the TV show My Big Nigeria Wedding; which I created, produced and directed. People had doubted if we would deliver, but we did. Winning the AMVCA would certainly be one as well because of the recognition and some measure of popularity, which it brought. The low point would be going through a whole year, during start up and barely making any income as a family man with a wife and a one year-old baby. That was like walking through the valley of the shadow of death.
6. What new project/projects are you working on and what should the audience expect?
I am presently producing 2 short films for Trino Studios. We had been planning this before the AMVCAs. I am also hoping to shoot my first feature film early next year. We are in the second season of My Big Nigerian Wedding and it is bigger this time as we will be having two winners and two weddings in Lagos and Abuja. I also have the rights to the Biggest DJ Competition in the world known as DMC World DJ Championship. We are planning to organize one in Nigeria and have the winner represent Nigeria at the world championship for the first time as well as generate good TV content from it.
7. What are your thoughts on Nollywood; in terms of the industry’s achievements and the challenges it faces?
Like many things in life, it has gone through different phases. The global recognition it has received speaks volumes. A lot of countries can only wish to get to where we are in terms of having a film industry, though there are still a lot of challenges in the area of marketing and production. I also think that the art of storytelling is another problem, but every system has got its own problems. The good thing is that our film industry is not a stagnant or retrogressive one. We are making progress and that’s all that matters. I believe that as we grow, the other problems will be solved. After all, there were much more problems in the past that have been solved or are being solved. The standard has been upped, which shows progress.
8. Which older film-makers (local and foreign) do you admire and why?
Kunle Afolayan and James Cameron. They have been able to set industry standards and made films that have been appreciated by their viewers.
9. What do you hope to achieve in the near and distant future?
I will love to tell a lot of our untold stories here in Nigeria and indeed Africa. I know without a doubt that I will. It might take me time because it costs a lot of money and time to make a good film, but I am resolute and will do it in a way that the world will appreciate and love. I also will love to teach young people the art of Film-making and TV Production. I have a penchant for teaching and also do it effortlessly with immense impact. I hope to start with my Alma Mata, UNILAG.
10. What do you have to say to up-and-coming film-makers out there, especially the young ones, who are trying to break into Nollywood?
I don’t know anyone that attained greatness or success by giving up or without a fight. Passion is the number one ingredient because that’s one thing that keeps you when nothing seems to be going right. You also have to back up your passion with knowledge. It’s even tougher now because the bars have been raised and you can’t give what you don’t have. A lot of young people are more concerned about what they can get rather that what they can become by investing in their personality. Success comes from what you have fed your spirit man or your mind, so you have to always aspire to greater heights by continuous study. With time, the rest will fall into place. It’s just a natural order.
Star studded movie, Head Gone produced by ace musicians and duo talented
brothers, Dare Fasasi, a.k.a Baba Dee and his brother, Lanre Fasasi
popularly known as Sound Sultan is finally ready to hit the cinema.
Currently one of the most demanded movies at the cinemas by film lovers at
the moment, the movie will hit the cinemas across Nigeria on Friday June
5th, 2015.
Having premiered at various international film festivals across the world
including the Berlin Film Festival to a packed cinema audience, Head Gone
was also screened in countries such as Austria, Sweden, Germany and Italy
during the just concluded European tour of the movie to sold out cinemas.
Multiple award winning musician, 2Face Idibia who also featured in the
movie lighted up the premieres with his esteemed presence across Europe.
Head Gone Film was also screened at the Walter Reade theatre and the
African film festival in New York with lots of great reviews and
accolades.
Speaking concerning the tour and the cinema release of the movie, Baba Dee
who also directed the movie said the love and support received so far on
the project has been overwhelming. “I thank God almighty for the success
recorded so far on the Head Gone film project. We also thank our friends
in the Nigerian entertainment industry for the love and support. We had a
good outing at the Berlin Film Festival to a packed cinema audience that
included the Nigerian and South African Ambassadors to Germany. In
attendance was also the former German ambassador to Nigeria, Walter Lvon
den Driesch. We just concluded the European tour screening of the movie
and the time is set to hit the cinema. We have been getting lots of phone
calls and emails asking us when the film will start showing at the
Cinemas. We are super excited like every other great film lover about the
Cinema release”.
Head Gone, described as comedy of Errors by the producers features Ali
Baba, Baba Dee, Basketmouth, 2Face Idibia, Sound Sultan, Zark Orji, Hafeez
Ayetoro (Saka), Tunji Shotimiran, Ik Osakioduwa, Eniola Badmus , Segun
Adefila, Sunday Omobolanle (Papi Luwe), Yomi Obileye, Yinka Akinlawon, to
mention a few.
Cast- Ramsey Nouah, Mercy Johnson Okojie and Mary Njoku
Time-5:35 – 6:55pm
Year- 2015
Genre- Drama
“Thy Will Be Done” official premiered in Nigerian cinemas on May 15, and by Saturday May 23 a week later, at the Film House cinema Surulere, we had like 25 people gathered to watch it. Yay!!! Who says Nigerians don’t watch Nigerian movies in the cinemas.
Synopsis:
Thy Will Be Done is the story of Pius a happily married pastor, whose life is thrown in turmoil when his first wife whom he presumed dead 7 years ago suddenly shows up. Pius has a choice to make, between his calling and his wives; his old sins and new loyalties; his taking firm action and surrendering to God’s will.
Sometimes evil begins to look good and vice versa…
Haven’t been to the cinema in a while, so I set out to watch this movie. Now the movie name wasn’t a catch at all (as in…) in fact the ticketing attendant had to hand me a flyer so I could confirm if I actually wanted to watch the movie! (talk about serious things ba!)
That aside, I was actually looking forward to this and coming from prolific director Obi Emelonye(Ije, Last Flight to Abuja and Mirror Boy) I was almost certain that this will be a ball out of the park.
Ramsey Nouah in the lead was a welcome development and this is mainly because Ramsey has been on some sort of hiatus and asides 30 Days in Atlanta, he’s been absent from the industry. Ramsey at Pastor Pius wasn’t a letdown as he can do no wrong (sometimes). He however, needed to do more especially when you look at the presence some of our pastors have on TV. He had the bible quote, praise the Lord and solemn look on lock down, but that’s not all his character could have delivered too. I do like the way Ramsey switches his emotion though; it gives me goose pimples when he does it ‘cause he does it really well.
Playing the first wife come back from the dead was Mary Njoku. She wasn’t too shabby. As a subtle confused looking woman, not sure what to make out of her current situation, she carried it out well. Haven’t seen her in a while as well, but I give her kudos for holding her own.
My champion, however was Mercy Johnson. After this movie, I understand why people say she is good. She gave the right illusion that she was truly dutiful and focused, but wow and wow, she pulled the stunts (not physical stunts oh!) that I have seen actresses like Demi Moore and Angelina pull.
While I was somewhat satisfied at the choice of cast, I cannot say with a straight face that I was crazy about production! OMG. I have one word for production quality; dark, sound quality; poor, make-up; crazy especially on Mercy. Props in the house; could be better, costumes (oh com’on)Ramsey in the suits were awful, most of Mercy’s outfits were tight, making her look bloated and Mary felt like a step child *sigh*. I however, liked the story line and what Tobi Osigwe brought to the production, was a different and fresh and it’s been a long time coming. I wouldn’t have gone the Pastor route, but hey! I’m no writer.
With the cinematography and light hellish, not sure what to say about Obi Emelonye’s directing, I liked the area shots and that accident scene (spoiler alert!) was epic, not sure why the person driving lost his ability to walk and the person hit lost her memory, but hey, it is excusable!
“Thy Will be Done” earns a 4/10 from Xplore.
Have you seen “Thy Will be Done”? Let me know what you think in the comments section.
This is a documentary film that tells the story of Kudirat Abiola from the Point-of-View of Hafsat Abiola-Costello, who unintentionally becomes an activist when her father, the late Chief M. K. O. Abiola, is incarcerated for declaring himself Nigeria’s President after the annulment of an election he is widely believed to have won in 1993. Bill Clinton, former American President, is quoted as saying that the June 12, 1993 election in Nigeria is “the best demonstration of democracy after the end of apartheid”; but Gen. Ibrahim Babangida’s government invalidated it for reasons, which remain unknown until this day.
Hafsat Abiola-Costello, Walter Carrington (US Ambassador to Nigeria, 1993 – 1997), Prof. Wole Soyinka, Lekan Abiola, John Campbell (US Ambassador to Nigeria, 2004 – 2007) and Joe Okei-Odumakin are some of the interviewees in The Supreme Price, where they give far-reaching insights on the Abiola household, the pre and post June 12 days, diplomacy and international politics plus patriarchy.
The film is well-enacted with relevant photographs as well as footage of social and political events. The footage of Abiola and his wives at an occasion plus the apparent tension amongst them tells viewers that there must have been a recent disagreement between them or that a certain problem was brewing. It is enlightening to see Abacha, making a broadcast on TV while Kudirat Abiola listens in her living room shortly before her unfortunate assassination.
The rest of the footage – from electioneering campaigns to the demonstrations on the streets, following the annulment of the June 12 elections and the invasion of the Abiola household 0n the orders of Abacha’s government – are apt and revealing.
The digressions – like talking about Nigeria’s oil midway into the film – are excellent. Gender is one idea, which is reiterated in The Supreme Price. “Good governance is not about gender”, “To play the game that women are divided is to advance patriarchy”, “Activism and wife don’t go together” are some statements made in the film; notions that Hafsat Abiola-Costello has been challenging through the Kudirat Initiative for Democracy, KIND. Ironically, one of the biggest advocates of patriarchy is none other than Lekan Abiola, Hafsat’s brother, who promotes the view that a woman should be as near to her closet as possible; where, according to him, Allah answers her prayers the most. He is averse to his sister’s cause, remarking that she is wasting her time.
The beauty of this film is that there is no attempt to hide uncomfortable or opposing facts like Lekan Abiola’s full display of patriarchy. Alan Channer; the producer of The Imam and The Pastor, another documentary; once said, “Documentaries can dissolve assumptions or even eliminate stereotypes; thereby creating mutual understanding.” So, when people like Lekan Abiola see The Supreme Price, they may be persuaded to rethink their position.
The determined young lady, Hafsat Abiola-Costello; who left her diplomat husband, Nicholas Costello, and two young children in Belgium to take up an appointment as an aide to the Governor of Ogun State on the MDGs; must be fulfilling her dream of contributing to the change she wants to see; having commented in the documentary that “Nigeria has changed a lot, but has not changed enough.”
There are two misconceptions in The Supreme Price. One, the map of Nigeria they dispaly shows Igbo, Hausa and Yoruba as the three tribes, which make up Nigeria, error! The minorities, found almost all over the country, must be represented in Nigeria’s map. Another map of Nigeria depicts the Christian South and the Muslim North, blunder! Is Abiola-Costello’s family not South Western Nigeria and Muslim at the same time? Those parts must be expunged from the film without delay.
The film also reveals the intriguing and divisive nature of polygamy. Apart from Kudirat’s children, neither the surviving wives of Chief Abiola nor his other forty-eight children feature in the documentary.
The Supreme Price; though a documentary film, whose story we know very well; keeps viewers on the edge of their seats with superb exposition and entertainment. Director Joanna Lipper ought to be commended for telling such an intense and fantastic story. Choosing to let the film transcend the June 12 struggle and relate present-day occurrences is triumph for the late Kudirat Abiola, who paid with her life as she fought injustice because it reaffirms her belief that Hafsat will continue the activism even if she dies in “battle”. Accordingly, the jury at the 2014 Africa International Film Festival, AFRIFF, awarded The Best Documentary Film Prize to The Supreme Price.
As we experience fuel scarcity in Nigeria, everyone from banks to telecommunications companies have had to shut down business/operations at some point in time. Including Mr Bolly.
#360Nobs & #iCirculate have decided to bring you @BollyLomo’s tales past a 15 second #instagram video post. It’s only fair that we had Bolly give you the full gist of his daily encounters.
Munachi (Mary Njoku), who supposedly died 7 years ago resurfaces and finds out that her husband, Pastor Pius (Ramsey Noah), is now married to Lucy (Mercy Johnson). The controversy that a clergyman is married to two women and the battle in the ‘polygamous’ home are the thrust of Thy Will be Done.
Obi Emelonye (The Mirror Boy, Last Flight to Abuja and Onye Ozi – The Messenger) is behind the contrived and derivative movie, Thy Will be Done, which looks very much like Omoni Oboli’s Being Mrs Elliot; though the latter, with all its flaws, is far better than the former.
The film’s dialogue is bland and conversations are employed in obviously perceivable circumstances, in which pictorial action can do the job. Lucy is conversing with a lawyer and she tells him, “You know you are my legal oracle.” No, he is her ‘medical oracle’. Even unnecessary conversations are enacted. For instance, when Lucy consults a doctor, she tells him, “My husband is a pastor and we serve a living God.” In response, the doctor says, “You are my cousin, Lucy. I won’t lie to you.” Then, someone says, “All books starts (sic) to look the same”.
In the film’s opening scene, the way Munachi pours the tea away means that it must have poured on the General (Jide Kosoko) or was it cold tea? When Pastor Pius honours the invitation by the organization, which investigates the Munachi/ Itunu case, does it mean there is no intercom in the office to communicate with another member of staff, who could fetch Munachi and is the disappearing act supposed to be part of the film’s suspense? It does not work at all.
The manner, in which Pius reacts when he sees Munachi in her father’s house, leaves one wondering who indeed has amnesia – Munachi or Pius. How come he goes away with her, not asking the relevant questions?
A policeman puffs a cigarette on Munachi’s face; apart from making her a passive smoker, isn’t that unprofessional conduct? How come the wounded robber never seeks medical help? Is he immortal? The robber has the time to change the clothes of someone he killed, to what end?
Unfortunately, no Christian-themed film has beaten Out of Bounds, a 1997 Tade Ogidan film, a Richard Mofe-Damijo (RMD) production, which was co-written by Tade Ogidan and RMD. In that fascinating film, Pastor Voke (RMD) dates the two women – Tutu (Bimbo Akintola) and Ada (Ayo Adesanya) – who ruin his ministry; but is restored through the efforts of Chief Adigwe (the late Pa Steve Rhodes).
Much as Helen Ukpabio produced Christian movies all the way, several of which had a lot of potential; none matched Out of Bounds’ well-plotted story. The Pope Must Hear This; incidentally starring Ramsey Noah, the story of a randy Reverend Father, who kicked his ball into a bunker when he defiled the daughter of a wealthy parishioner played by Pete Ed0chie; was relatively well-told; but not as interesting as the thought-provoking Out of Bounds, especially as The Pope Must Hear This came after Beyond the Vow, an Igbo film, which told a similar story.
My Cross, a run-of-the-mill 1998 Production by Emmalex Movies, also featured Ramsey Noah as a Reverend Father, who lost every member of his immediate family to a conspiracy orchestrated by a relative, a role that was interpreted by Charles Okafor.
One had expected Thy Will be Done to be an outstanding narrative, but it ended up as a pedestrian work of art. Therefore, it is high time film-makers who practice the Christian religion worked on remarkable Christian films that will be remembered for a long time to come; if for nothing else, a lot has changed in Christendom in Nigeria 18 years after Out of Bounds.
Ramsey Noah, like many A-list actors have cut down on the number of films, in which they feature; so as to concentrate on quality projects that will position them as exemplary artistes. However, Thy Will be Done is a long way from that dream project, which will guarantee that distinction. By my assessment, he is yet to surpass his performance in Dangerous Twins; coincidentally another Tade Ogidan film, which though imperfect, brought out the best in the debonair actor.
It is also worrisome that Iroko TV’s Jason Njoku, his wife, Mary, and their production outfit are deeply involved in Thy Will be Done. Having distributed both interesting and second-rate films, they should have embarked on an exciting project that will take Nollywood notches higher.
Obi Emelonye also has a chance to redeem himself by making a blockbuster film, which will etch his name on the audiences’ minds. If the saying that ‘You are as good as your last show’ is anything to go by, then his last show, Thy Will be Done, leaves much to be desired. It appears that Emelonye fails to improve with every production. The Mirror Boy, (whose success is chiefly anchored on Genevieve Nnaji’s ever dependable shoulders) with its errors, is better than Last Flight to Abuja whilst Last Flight to Abuja is better than Thy Will be Done. Yours truly is yet to see Onye Ozi (The Messenger), his 2015 AMVCA-winning Best Igbo Film. Mr. Emelonye, movie buffs are waiting.
This is yet another film on the Benin (Bini) kingdom, coming after The Child (Izu Ojukwu, 2010), Invasion 1897: The Deposing of Oba Ovarhehem (Lancelot Oduwa Imasuen, 2014) and The Antique (Darasen Richards and Adetokunbo Odubawo (DJ Tee), 2014. There are others, including Adesuwa – another Lancelot Oduwa Imasuen film – which yours truly is yet to see.
Iyore is the story of Osarugue (Rita Dominic), who is married to Ovie (Yemi Blaq), but whose heart is in a childhood friend, Eweka/Azuwa, (Joseph Benjamin); setting the stage for untold conflict and catastrophe.
There is full display of rich customs and traditions of the Bini people. The costumes are striking; the dialogue is replete with countless proverbs, reminiscent of the era portrayed in the film and Bini actors are cast to perform the songs.
The reincarnation subplot is better developed in Iyore than in The Return, a Kingsley Ogoro production, which is at least a decade old; starring Uche Macaulay, Gloria Young and several other star actors. Although it is a controversial concept, some cultures and religions cannot dispense with reincarnation. There are slight variations on how it is propagated in various cultures and religions and Iyore handles it satisfactorily.
On the contrary, the main plot is the theme of hundreds of Nollywood films – a boy is in love with a girl, one from a wealthy background and the other from a wretched lowly one; of course, the affluent parents are opposed to the union, resulting in a lot of drama, at times excessive drama.
Movie fans are constantly in search of revitalizing stories and this is where Iyore fails. Granted that this movie turns out to be unpredictable, a more exciting love story could have been told by Frank Rajah Arase than the story of a couple, who are barred from getting married because one of them comes from a nondescript background.
The film’s subtitle is poorly done and should be revisited. There are countless errors in it. When Osarugue asks Ovie why he did not deem it fit to tell her he was travelling, the subtitle reads, dim instead. The lady diviner says, Strange as it may seem, the gods makes … (sic) and Rita Dominic is seen with her. When actors fail to voice their observations on set, the mistakes mar the production and quest their credibility too even when they are not the ones who directly commit the blunder! Someone also mentions ‘the crowned prince’ rather than ‘the crown prince’.
How come 2005 cars are used in a film that depicts 19 years ago? Whereas Ovie’s car could pass for a vehicle common two decades ago, the same cannot be said of the cars used by the royals.
When the prince’s cousin takes Joke Adekoya into the room, he mentions being the rightful prince, who was denied of his rights because of his father’s early demise. At the end of the film, Eweka is said to have returned to his rightful position right in the presence of his cousin. The audience is not told that the prince’s cousin lied and so why is that anomaly not resolved?
In her review of Blood and Oil, a BBC thriller that stars David Oyelowo, Sam Dede, Johdi May and Naomi Harris; in NEXT on Sunday (4th April, 2010), Chimamanda Adichie stressed that ‘It is lazy at best and patronizing at worst to use characters who mostly speak a kind of generic Africanized English; they become caricatures. Details matter because they lend authenticity and, for a knowledgeable viewer, can make the entire film believable or not’.
As a corollary, the actors in the film could not pronounce Bini names correctly. What would it have cost the producers to hire a dialogue/speech coach to work with the cast? If they hired one, then the person did not do a thorough job.
Shijuwomi is an eponymous post-colonial story of a pampered girl, Shijuwomi, who travelled to England to study, but attempts suicide; prompting her repatriation. Back home, she is moved into an institution where she meets Dr. Ilori, a lecturer in Anthropology who eventually marries her. The marriage is full of thorns and pebbles, failing to provide the desired succour for Shijuwomi and this leads to another attempted suicide.
Shijuwomi, the cinematic adaptation of Behold my Redeemer, a play by renowned playwright, Rasheed Gbadamosi, stars Bimbo Manuel, Ayo Lijadu, Tina Mba, Judith Audu, Femi Adebayo, Olu Okekanye, and Jude Chukwuka. It is produced by veteran film-maker Bayo Awala while award-winning film-maker, Niji Akanni (Aramotu, Abobaku,Heroes and Zeros), is the film’s director. Akanni has also written many award-winning films including Dangerous Twins, Playing Games, Saving Alero and Narrow Path. He has also featured as director in several Reality TV shows in Nigeria – the Amstel Malta Box Office (Season One, 2005), Big Brother Nigeria (2006) and The Apprentice Africa (2008).
Awala, the producer of the film, is neither new to adaptations nor directing. As a film-maker, he acquired a lot of experience at the Nigerian Television Authority, NTA, where he directed such successful drama series as TheVillage Headmaster, Winds against MySoul, Adio Family, By the Road Side, The Turning Wheel, The Young Ones, Jagua Nana’s Daughter, Tight Rope, Trauma and Doctors Quarters.
In 2005, Awala directed the award winning political thriller, Prince of the Savannah, written by Yinka Ogun and starring Tunde Laniyan, Sam Loco Efe, Teni Aofiyebi and Chidi Ukwu, who won the Best Actor Award at the ZUMA Film Festival 2011 for his role in the movie.
“This project has been in the works for over two decades. I have always being fascinated with this story since I first directed it on stage in 1969. Its thematic relevance, the tempo-spatial canvass against which the narrative plays out and an opportunity to increase the volume of works adapted from our rich literary traditions are some of the reasons why we have decided to showcase this piece”, Awala said.
Renowned economist and accomplished art collector, Chief Rasheed Abiodun Gbadamosi serves as Executive Producer for this project. Gbadamosi is the author of many short stories and plays for radio, television and the theatre, including Tree Grows in the Desert, Behold my Redeemer, Echoes from the Lagoon, and Sunset over Nairobi, which won first prize in Radio Netherlands Golden Windmill Short Story competition.
Shijuwomi received support from Nollywood interventionist project; Project ACT Nollywood’s Film Production Fund (FPF) and is being produced with the active collaboration of Ogun State Government.
Below are some location pictures from the set of Shijuwomi:
The Changer tells the fascinating story of Winnie; an innocent poor girl who has the hunger for education and intends to make a difference, but her dreams are thrown to the dogs as her wretched and drunkard father marries her off to an influential ritual killer in a bid to offset a N10,000.00 (ten thousand naira) debt. Her attempt to break loose results in grave consequences as she faces unimaginable challenges.
Some of the notable actors in the movie include: Kalu Ikeagwu, Uti Nwachukwu, Seun Akindele, Segun Success, Joy Success, Lawrence U. Lawrence just to mention a few. Some up-and-coming stars also aided the success of this spectacular piece of art, namely: Princess Okah, Victoria Ubani, Joy Akamgba, Stella Emmanuel, Justice Slik and a host of others.
According to a post on the AMAA Facebook Page, the following are the nominees for the 2015 awards, which will be holding on 26th September, 2015. The nominees were announced last night in Los Angeles, USA.
THE EFERE OZAKO AMAA 2015 AWARD FOR BEST SHORT FILM
Stories of Our Lives ‘Run’ – Kenya Aisha’s Story – Nigeria Gulped of the Blue Sea – Togo Memoir of an Honest Voice – Sierra Leone Twaaga – Burkina Faso
AMAA 2015 AWARD FOR BEST ANIMATION
The Throne – Nigeria Alternative to Corporal Punishment – Namibia The Legacies of Rubbies – Nigeria Akorkoli – Ghana
AMAA 2015 AWARD FOR BEST DOCUMENTARY
Egypt Modern Pharaohs ‘Nasser’ – Egypt The Dream of Shahrazad – South Africa Nelson Mandela, The Myth and Me – South Africa Beats of The Antonov – Sudan The Supreme Price – Nigeria/USA
THE OUSMANE SEMBENE AMAA 2014 AWARD FOR BEST FILM IN AN AFRICAN LANGUAGE
Timbuktu – Mauritania Triangle Going to America – Ethiopia Cheetanah – Nigeria Juliet and Romeo – Burkina Faso INumber Number – South Africa
THE MICHAEL ANYIAM OSIGWE AMAA 2015 AWARD FOR BEST FILM BY AN AFRICAN LIVING ABROAD
Gone Too Far – Nigeria/UK Thorns of Roses (O Esphinho Da Rosa) – Guinea Bissau/Portugal Fevers – France/Morocco Affairs of the Heart – Nigeria/USA
AMAA 2015 AWARD FOR BEST DIASPORA SHORT Sound of Tears – Canada Hand to the Sky – USA Calm – UK
AMAA 2015 AWARD FOR BEST DIASPORA DOCUMENTARY
Jimmy Goes to Nollywood – USA/HAITI The Black Panthees Vanguard of the Revolution – USA Bound: Africans VS African Americans – USA Black Panther Woman – Australia
AMAA 2015 AWARD FOR BEST DIASPORA FEATURE
Under the Starry Sky – France CRU – USA Supremacy – USA
AMAA 2015 AWARD FOR ACHIEVEMENT IN PRODUCTION DESIGN
INumber Number– South Africa October 1 – Nigeria Le President – C ameroun Run – Cote d’voire Timbuktu – Mauritania
AMAA 2015 ACHIEVEMENT IN COSTUME DESIGN
Dazzling Mirage – Nigeria Run – Cote d’Voire Njinga: Queen of Angola – Angola October 1 – Nigeria INumber Number – South Africa
AMAA 2015 AWARD FOR ACHIEVEMENT IN MAKE-UP
Run – Cote d’voire Iyore – Nigeria Silver Rain – Ghana INumber Number – South Africa Njinga: Queen of Angola – Angola
AMAA 2015 AWARD FOR ACHIEVEMENT IN SOUNDTRACK
A Place in the Stars – Nigeria Triangle Going to America – Ethiopia Iyore – Nigeria Njinga: Queen of Angola – Angola Timbuktu – Mauritius
AMAA 2015 AWARD FOR ACHIEVEMENT IN VISUAL EFFECT
Invasion 1897 – Nigeria Kpians – Nigeria Run – Cote d’Voire INumber Number – South Africa Triangle Going to America – Ethiopia
AMAA 2015 AWARD FOR ACHIEVEMENT IN SOUND
Lobraz Khan – South Africa Le President – Cameroun Run – Cote d’Voire Timbuktu – Mauritius INumber Number – South Africa
AMAA 2015 AWARD FOR ACHIEVEMENT IN CINEMATOGRAPHY
Triangle Going to America – Ethiopia INumber Number – South Africa Run – Cote d’voire Lobraz Khan – Mauritius Timbuktu – Mauritius
AMAA 2015 AWARD FOR ACHIEVEMENT IN EDITING
October 1 INumber Number Triangle Going to America Run Timbuktu
AMAA 2015 AWARD FOR ACHIEVEMENT IN SCREENPLAY
Le President While You Slept Timbuktu Love or Something like That Run
AMAA 2015 AWARD FOR BEST COMEDY FILM
30 Days in Atlanta Iya Alalake Last Three Digits
AMAA 2015- BAYELSA STATE GOVERNMENT ENDOWED AWARD FOR BEST NIGERIAN FILM
Invasion 1897 Dazzling Mirage October 1 Iyore A Place in the Stars
AMAA 2014 AWARD FOR BEST CHILD ACTOR
Layla Walet Mohammed and Mehdi A.G Mohammed – Timbuktu
Joshua Ibrahim and Daniel Ibrahim – A Place in the Stars – Stigma
AMAA 2015 AWARD FOR BEST YOUNG/ PROMISING ACTOR
Demola Adedoyin – October 1
Vinjeru Kamanga – Bella
Kemi Lala Akindoju – Dazzling Mirage
Hassan Spike Insingoma – Boda Boda Thieves
Chiedza Mhende – Love the One You Love
AMAA 2015 AWARD FOR BEST ACTOR IN A SUPPORTING ROLE
Israel Makoe – INumber Number
Paul Obazele – Iyore
Chumani Pan- Silver Rain
OC Ukeje – Love or Something Like That – Triangle Going to America
AMAA 2015 AWARD FOR BEST ACTRESS IN A SUPPORTING ROLE
Hilda Dokubo – Stigma
Toulou Kiki – Timbuktu
Reina Salicoulibaly – Run
Prossy Rukundo – Boda Boda Thieves
Ama Amphofo – Devil in a Detail
AMAA 2015 AWARD FOR BEST ACTOR IN A LEADING ROLE
Tony Kroroge – Cold Harbour
Sdumo Matshali – INumber Number
Abdoul Kareem Konate – Run
Sadiq Daba – October 1
Gerard Essomba – Le President
AMAA 2015 AWARD FOR BEST ACTRESS IN A LEADING ROLE
Lesliana Pereira – NJINGA: Queen of Angola
Queen Nwokoye – Cheetenah
Aida Wang – Juliet and Romeo
Jocelyn Dumas – Silver Rain
Ini Edo – While You Slept
AMAA 2015 AWARD FOR BEST FIRST FEATURE FILM BY A DIRECTOR
Carey Mckenzie – Cold Harbour
Jenna Bass – Love the One You Love
Destiny Ekeragha – Gone Too Far
Tawonga Taddja Nkhonjera – Bella
AMAA 2014 AWARD FOR BEST DIRECTOR
Theodros Teshome Kebede – Triangle Going to America – Ethiopia
Theo Nel – INumber Number
Abderrahmane Sissako – Timbuktu
Phillipe Lacote – Run
Kunle Afolayan – October 1
AMAA 2014 AWARD FOR BEST FILM Run – Cote d’Voire Timbuktu – Mauritania INumber Number – South Africa Triangle Going to America – Ethiopia October 1 – Nigeria
Ever tried getting into a club like some “cool kids” only to get beaten up? Bolly shares his ordeal.
#360Nobs & #iCirculate have decided to bring you @BollyLomo’s tales past a 15 second #instagram video post. It’s only fair that we had Bolly give you the full gist of his daily encounters.
Jude Idada is extraordinarily talented. Principally a writer, he has romanced almost every genre of writing: Poetry (Exotica Celestica), Prose (By My Own Hands, A Box of Chocolates: the former a novel and the latter a collection of short stories) Drama (Oduduwa: King of the Edos, Coma), Children’s Literature (Didi Kanu and the Singing Dwarfs of the North) and Screenwriting (The Tenant, Dr. Death, 8 Bars and a Clef, The Precipice, The Ghetto Red Hot Project and its documentary precursor, Blaze Up the Ghetto).
Idada has earned a lot of recognition for his works. His screenplay for the movie The Tenant won the Best Screenplay Award at the Africa Movie Academy Awards, AMAA, in 2010. In 2014, his play, Oduduwa: King of the Edos, was runner-up at Nigeria Liquefied Natural Gas, NLNG, Annual Prize for Literature; coming behind Prof. Sam Ukala’s The King. Incidentally, the book had earlier won the Association of Nigerian Authors’, ANA, award for Best Drama.
He sold the film rights for another play of his, Coma, to a South African film production company and has been invited as a guest speaker at a University in the United States and at film festivals. A self-professed egalitarian, Idada’s siblings used to call him Edit as a young boy.
Much as he says that “Nollywood is a miracle in itself”, he observes maintains that the industry “is still in the fringes of world cinema. Therefore, much as Nollywood is celebrated, it cannot be heralded as a global phenomenon yet. There is still a lot of work left to do and a huge distance yet to cover before it catches up with the major players or even minor players in the film world”.
Yet, he applauds the film festivals, film schools, film grants, film symposia, film workshops and all the other efforts geared towards bringing Nollywood into global reckoning.
We unearth Jude Idada: screenwriter, actor, film-maker (producer/director), songwriter, novelist, poet and playwright. 1. We know you are a Theatre Arts graduate of the University of Ibadan. Could you tell us the primary and secondary schools you attended plus any post-graduate degree and/or professional training(s) you also have?
I attended Home Science International School in Ikoyi and Command Children’s School Bonny Camp, both in Lagos, for my primary education; Command Secondary School, Kakuri, Kaduna and for post-graduate, I attended the Guelph University/Humber College in Toronto, Canada, where I did studied Human Resources Management.
2. You are a screenwriter, actor, film-maker (producer/director), songwriter, novelist, poet and playwright. What other skills do you possess that we might not know about? Did anything during your upbringing prepare you for a life in the Arts? Could you also tell us about your early influences – parents, siblings, friends and relatives? Did you read a lot of books or watch a lot of TV in your formative years?
I do not want to sound immodest. I will say the aforementioned skills are enough for one lifetime. So, let me keep the other things, which I think I am good at, close to my chest. I will say the one thing that prepared me for a life in the Arts was READING … I grew up reading, voraciously, everything that I could lay my hands on and I believe this developed and moulded my mind into what it is today.
My father was one of my early influences … he had a prodigious mind and used to get us, his children, to write and discuss issues that were brought up on NTA 9.00 p.m. news. I remember having to defend extensively every choice I made before my father. He couldn’t understand or encourage peer pressure; to him, every child of his had to have an independent mind that informed every choice or decision they made.
In terms of friendships, my first formative friendship that crafted, encouraged and motivated me was my friendship with Fabian Lojede. In the University, we both spent time day-dreaming, writing and discussing. It is a rich friendship that persists even up until today and I believe will forge ahead into the future.
Yes, I read a lot, watched TV and movies like my life depended on them. My siblings used to call me Edit as a child.
3. When did you start writing and which form of writing did you commence with?
I can’t truly remember when I actually started writing, but I completed my first novel at the age of 9. I wrote it in long hard on six 80 leaves exercise books, gave it to my Guidance and Counselling teacher in my high school. She put it in the lower drawer of her desk and told me she would get back to me. That was the last I ever heard of it, very unfortunate because I can imagine what I would have been now if she actually did her job … so, my first form of writing was PROSE.
4. Why, when and how did you embrace screenwriting?
The first time I wrote a screenplay was in my second year as a Theatre Arts undergraduate of the University of Ibadan. I had my minor in Film but, at the time, we hadn’t started going into our minors and the little we had done was very peripheral.
Having said that, I stumbled on an advertisement in the newspapers for the inaugural M-NET New Directions Film-makers competition; it was for thirty-minute screenplays for short films. So, I researched the intricacies involved in screenwriting and proceeded to write a screenplay and submit. I was shortlisted as one of the finalists for the competition.
5. Tell us about your collection of poems, Exotica Celestica; novel, By My Own Hands and collection of short stories, A Box of Chocolates.
Exotica Celestica is a collection – of 178 poems – that explores the relationship between man and God from the perspective of the erotic, emotive, psychological and the spiritual.
By My Own Hands is the first book in a trilogy. It is a novel that explores the concept of suicide and the heavy weight the families, who have lost a member, have to carry as they make their way through life. It is a story of two families, one in Nigeria and another in Canada, who have each lost a family member through suicide and how unforeseen events force their lives to intercept with dire yet heartwarming results.
A Box of Chocolates is a collection of 18 short stories that give an anecdotal account of events across the Nigerian landscape; using issues as a fulcrum … so it explores military coups, AIDS, homosexuality, prostitution, revolution, love, inheritance, friendships, cultural heritage, etc.
6. We will also like to hear about your upcoming films: Dr. Death, 8 Bars and a Clef, The Precipice, The Ghetto Red Hot Project and its documentary precursor, Blaze Up the Ghetto.
Dr. Death is the story of a young man in search of an infamous government hit man, known as Doctor Death, who murdered his father. It is a psychological thriller that explores the confrontation between these two people and how it reveals certain secrets that force the young man to question what he knows about his father and ultimately what he knows about himself.
8 Bars and a Clef is a story about a young man who has to overcome a learning defect, a dysfunctional family and an overbearing record label executive in order to achieve his dream of becoming a music superstar. I play the part of the record label executive. It is produced and directed by Chioma Onyenwe.
The Precipice is a psycho-social drama that explores the haunting effects of Post-Traumatic Stress Disorder (PTSD) on a young family in Nigeria. It is an endearing love story between a woman and her ex-soldier husband, who is slowly sliding into mental illness.
Ghetto Red Hot is a musical drama set in a ghetto in Lagos. It revolves around two friends, who battle poverty and a local gang in order to win the first prize of a musical contest, which is a record deal plus the friends’ escape out of the ghetto … Blaze Up the Ghetto is a docu-drama that explores the concept of music as a tool of escape. It spans over a period of time and follows three aspiring musicians in the ghetto who win (and are runners-up) a musical competition and try to see which of them will achieve their dreams of musical success.
7. What lessons did you learn, producing The Tenant and how did it fare in the cinemas, both in Nigeria and elsewhere? When will The Tenant be released on DVD?
The Tenant was a labour of love, a journey of blood, sweat and tears. The primary lesson learnt is that one can achieve anything one puts their mind to. The secondary lesson learnt is that star power and market alignment are real. They are necessary ingredients for cinematic success on a market by market basis.
Being one of the early quasi-indigenous entrants into the resurgent cinema culture in Nigeria, it did very well, especially taking into cognizance that it had no known faces at the time. It won major awards at film festivals worldwide and did well when it screened in London and Canada. Plans are currently underway for a DVD and VOD roll-out.
8. We understand you are based in Canada. What is your experience as an African, working in the entertainment industry abroad?
It has been a rewarding, but trying experience. Firstly, as an African, you are a double minority in the industry. Not only are you black, you are also African, so there are two hurdles to scale. So, mostly, you have to exist in the fringe industry and slowly make your way into the mainstream either by doing culture specific projects or somehow becoming part of diversity-powered productions.
I have worked in the film and theatre industries in Canada and have done well in both because I have endeavoured to position myself as an authority on culture specific entertainment and as a highly socially-evolved African who has assimilated seamlessly into the Canadian cultural landscape.
So, if you exist principally amongst people of your kind and you do not cross over into the mainstream culture, then you will be relegated by the mainstream and would only find cognizance amongst your own people. This is not a wise way to succeed in this environment. You have to belong to as many sub-demographics as you can; you have to be progressive and open-minded. Your imagination and creative pieces have to be universal in nature, so that they can be enjoyed and accepted by as many people as possible. That is the way to succeed. You have to learn, unlearn and relearn, continuously and tirelessly. There is no other way to climb the slippery slopes of entertainment on the global stage.
9. How did you feel when you made the final shortlist for the NLNG Literature Prize with your play, Oduduwa, King of the Edos?
I felt honoured and elated since my selection was a validation of the skill-set of writing and also of the excellence of the work in itself. Because it had earlier won the best drama award at the Association of Nigerian Authors’ (ANA) award; being in the final shortlist and progressing to becoming the runner-up was an attestation to the fact that the play could hold its own amongst the best works in drama for the last four years.
10. We know that your business partner in The Tenant, Lucky Ejim, was part of Render to Caesar. Curiously, you were not part of that project or were you?
I unfortunately was not part of it. Lucky and I collaborate on projects and also undertake other projects on individual basis. Render to Caesar was one of those solo projects. We have access to one another and can always count on each other’s support whenever it is needed, whilst celebrating and encouraging each other’s singular and collective successes.
11. What are the high points of your career in the entertainment industry so far and what are the low points (if any)?
Hmmmm, high points? Okay, I will say being the runner-up for the NLNG Prize … having the film rights of a play of mine, Coma, purchased by a South African film production company … being invited as a guest speaker at a University in the United States and at other film festivals. Low points will be … not winning the NLNG prize and not having adequate financial investments or the necessary funding to make as many films as I will want to.
12. What are your thoughts on Nollywood; in terms of the industry’s achievements and the challenges it faces?
Nollywood is a miracle in itself. A lot has been achieved by people who had so little. It is worthy of study for the sake of innovation, improvisation and diligence. Be that as it may, it is still in the fringes of world cinema. Therefore, much as it is celebrated, it cannot be heralded as a global phenomenon yet. There is still a lot of work left to do and a huge distance yet to cover before it catches up with the major players or even minor players in the film world.
It is worthy to note that work has begun towards achieving this; film festivals, film schools, film grants, film symposia, film workshops, etc. If these are sustained and increased, then there definitely will be a vast improvement in skill-set and quality.
The challenges it faces are primarily structure-based: piracy, distribution, revenue tracking, financing, intellectual property ownership and indigenous content quota for exhibitors. If structure can be put in place to tackle these, then more capital can be attracted to the industry and, ultimately, it will grow even bigger and stronger.
13. Which film-makers, artistes and writers (local and foreign) do you admire and why?
Film-makers will be Steven Spielberg for the boldness of his imagination and his continual learning and relearning … James Cameron for his daring and innovative mind and borderless imagination … Christopher Nolan for the quirkiness of his creations and his willingness to bend the rules … Peter Jackson for his willingness to take on the mighty and bring, to life, the written word into visual image, even that which cannot be contemplated … Mel Gibson for his unique blend of passion, belief, style and genius … Ang Lee for doing the unexpected and proving the impossible possible … Lee Daniels, Ava Duverney, Steve Macqueen, Spike Lee, Alejandro Innaritu, Abderamanne Sissokho, Ousmane Sembene, Gavin Hood, Neil Blomkamp, Alphonso Cuaron, Guillermo Del Torro, Jafar Panahi, Mickey Dube, Herbert Ogunde, Kathryn Bigelow, Tunde Kelani, to name but a few … I am eclectic.
Artistes I presume will mean actors … These are legion, but then there are the usual suspects: Denzel Washington, Daniel Day-Lewis, Leonardo Di Caprio, Meryl Streep, Charlize Theron, Haley Berry and there are the local actors; O. C. Ukeje, Kehinde Bankole, Thishiwe Ziqubu, Bimbo Akintola and Lala Akindoju. This is principally because I am a student and disciple of Method Acting. For me, I believe that for you to will the suspension of disbelief, you have to become.
For writers, I will say Marie Corelli, Ben Okri, Paulo Coelho, Wole Soyinka, James Baldwin, Yann Martel, Charles Dickens, William Shakespeare, Nnedi Okorafor, Margaret Atwood, Isabel Allende, Gabrial Garcia Marquez, Chimamanda Ngozi Adichie, Amos Tutuola, Onyeka Nwelue, Arundhati Roy, Dean Koontz and Anne Rice. I believe I am enraptured by writers who are bold, yet intimate, contemporary yet historical; writers that delve into magical realism and understand the underlying correlation between the physical and the spiritual; writers that tackle issues; writers that appeal not only to the mind, but to the heart.
14. What do you hope to achieve in the near and distant future?
My children’s book, Didi Kanu and the Singing Dwarfs of the North, has just come out; it is the first book in a series. I have another novel coming out by September. I am currently writing three different screenplays and will be directing a play. I have a controversial play scheduled for next Easter. I will direct two feature films before the end of the year and a pilot for a TV show. Then, I am also working on three not-for-profit initiatives centred on mental health, communal bonding and reading.
15. Are there any other experiences or insights you will like to share with us?
I commend you for taking time out to interview me. I have had a continuum of uniquely interesting events that have happened to me. It will be captured in a collection of autobiographical short stories, which will come out next year.
I hope to spearhead a drive towards the film adaptation of Nigerian classic books and I am currently in search of other people who will love to see this come to reality. I have strong political and social justice views and have been known to discuss issues that revolve around these late into the night.
I am a lover with a wide open mind that is capable of imagining and putting into practice things that continually push the envelope. I am egalitarian.
Oloibiri, one of the most anticipated films of 2015, is an action thriller; which narrates the tale of Gunpowder (RMD) and Timipre (Olu Jacobs), two natives of Oloibiri, the town where oil was first discovered in commercial quantity in Nigeria. Gunpowder engages in violent struggle in protest to the squalid living conditions in his community despite their oil wealth; accusing Timipre’s generation of doing nothing whilst their land was exploited and plundered.
Taiwo Ajai-Lycett, Ivie Okujaye, Ifeanyi Williams and William R. Moses also star in Oloibiri; directed by Curtis Graham, produced by Rogers Ofime and written by Samantha Iwowo.
Below are behind-the-scene pictures and stills from the movie:
Stanlee Ohikhuare runs Mighty Jot Studios, which he established in 2005. The multi-talented artist – visual artist, photographer, award-winning cinematographer and film director – discusses his career, during which he has shot Kpians – The Feast of Souls, Oblivious, Sting, Horn-free Day, Verdict, Tunnel, Common Man, Stupid Movie and the award-winning documentary, Deadwood. He also talks about Nollywood and his place in it.
1. Could you tell us about your education: the primary, secondary and tertiary institutions attended plus qualifications obtained at the tertiary level (undergraduate and/or post-graduate)?
I attended St. Cecelia’s Home Nursery School, Ikoyi – Lagos; Hope Primary School, Ikoyi – Lagos; Command Children’s School, Enugu, and Union Secondary School, Enugu.
My tertiary education started at Yaba College of Technology Lagos; where I obtained a National Diploma in General Arts. Then, I proceeded to the University of Benin (UNIBEN) where I continued studying Fine Arts; specializing in Painting and earning for myself a Bachelor’s Degree in Arts (BA Hons.)
2. You are multi-talented: painter, photographer and film-maker. For how long were you a full-time painter before delving into Photography and then film-making? Do you still find time to paint and how much time do you currently dedicate to Photography?
3. Why, when and how did you embrace film-making?
When I graduated from the University of Benin, all I wanted to do was paint – but I had to re-assess my priorities and tell myself the truth about my career path as a painter.
As an artist, my personal style was and still remains surrealism – a style that has not yet gained much popularity with Nigerians and also one that I could not rely on as a full-time artist for monetary gains and sustenance as a fresh graduate.
So, I took a decision to learn Computer Graphics and other contemporary media for artistic expression that were fast-becoming viable and competitive; including Motion Graphics and 3D Animation. So, effectively I will say I only painted full-time for about a year after graduation. Then, I taught myself Graphic Design, Motion Graphics and, eventually, 2D and 3D Animation.
About five years after my graduation, I started developing interest in Core Film-making after dabbling into a project that was rather too ambitious at that time – a feature length 3D Animated Movie titled Lifespan.
With my animation skills, I was already directing 3D characters and bringing them to life, but I had little understanding of the principles and hands-on practice of Cinematography.
I knew I wanted to tell stories with great Cinematography. I also identified Photography as the closest thing to Cinematography that I could immerse myself in; armed with just my zeal and any cheap camera I could lay my hands on.
So for another two years, I trained myself in the art of Photography – choosing Wedding Photography as my training module in my quest to understand Cinematography for future application in the process of Film-making.
Someone once told me that “being a great photographer would make any serious-minded person approximately eighty-five percent prepared for core Cinematography” and I heeded his advice.
Eventually, when I was certain about my skill-set, I shot my first feature Film as a shooting director (behind the camera) and I have not changed my Film-making style ever since.
So far, Kpians – The Feast of Souls is my most tedious production. It involved over three months of pre-production and planning, ample time for script analysis and critique, evaluating of processes and very detailed preparation for every scene. I mean, we were suspending people, hanging people upside down, slashing bodies, slamming actors against anything possible and doing very dangerous things that were eventually dubbed “Not Dangerous” simply because we had tested, tried and carefully prepared for every shot; of course armed with essential research and documentation.
Tunnel was almost the same thing. On the set of Tunnel, there was this well articulated shot where we simulated an accident and every outcome; including the magnitude of impact, denting and real life considerations; was carefully researched to avoid casualties.
We actually smashed three cars and had a trailer sweep all three off the road in the concluding shot. The rendition was neo-realistic and as one would expect, that meant a lot of blood, gore and destruction.
Common Man was also demanding. I had to simulate a fire outbreak that took the lives of a newly wedded couple and at some very crucial point, getting the right location for principal photography was proving difficult; so I had to set one of my studios on fire (controlled, of course) and achieved the shot.
Every movie has its own challenges – even the simplest plot could become extremely complex, depending on the perspective from which the physical depiction of the screenplay is deployed.
Many of my movies have been written by me; but not all. However, if it’s a horror flick or a movie with insane situations deeply rooted in surrealism, then I’ll rather write it myself.
4. What are your thoughts on the dearth of documentaries in Nigeria? Are you planning to produce other documentaries, following the award of Best Documentary to Deadwood at the 2014 AMVCA?
Yes, I shoot a lot of movies, which I call conscience films. They are usually intricately balanced between the documentary genre and the regular feature or short film classification. Deadwood was shot in the same style.
One thing that will always be present in all my documentaries is filmic re-enactments to stir, actualize and establish my preconceived end in the consciousness of the viewer; the same reason why each of them is well researched and depicted in the most objective manner possible.
I am an emotionally-driven film-maker and it shows in my style of directing. I will completely explore the most thought-provoking and unforgettable situations-cum-scenarios in the most vivid and realistic manner possible – even if it means depicting things that most people can’t bear to see.
5. How do you raise funds for your films and what is the highest amount of money you have expended on a film? Did you recoup your money (that is if the movie has been distributed)? Why is Sting yet to be released more than 2 years after it was shot?
So far, I have funded all of my signature projects myself. I will always choose to do so as opposed to involving financiers, who will seek to enforce their subjective cravings on the film’s final appeal; thus drowning the very essence of the movie. Though not every investor or financier will seek this, I know for a fact that at least six out of every ten will.
I don’t think I could deal with accepting anything less than my original vision and level of expressiveness as far as shooting any movie that typifies my distinct style and personal vision is concerned. That’s just the way an artist is wired!
Whenever it gets too tough, I simply involve my family – my sisters and brothers. We sign contracts, agreements and a generic MoU, which stipulates their Returns on Investment (RoI) and when they are getting paid.
Though it’s family, we still keep it quite professional, so we don’t abuse the process and render the practice impractical for subsequent movies.
For feature films, budget averages between six and twelve million naira – excluding my own fees for the various aspects of Production I multi-task on, just in a bid to cut down on expenses. I always say that “Budget will never keep me from expressing myself”.
Film-making, for me, is an outlet for pouring out creative thoughts and surreal imaginations that could literally suffocate the bearer if left unexpressed. Money has never been my driving force. If I considered financial gain as a determining factor for my Film-making, then I would probably have shot less than half of the movies I have shot. But the biggest setback would have been the fact that I may have ended up as a film-maker without a distinct style.
Up until when I shot my latest Movie, Stupid Movie, which was carefully planned and executed towards grossing heavily at the box office, every other movie I have shot as a film-maker was done from the standpoint of a Creative Artist, seeking solace and fulfillment in his Art.
I shot Kpians – The Feast of Souls in 2013, finished post-production in 2014 and I am not releasing it until October, 2015 (Halloween Night). Oblivious was shot in 2013, but was only made publicly available in March, 2015. Sting, starring Kiki Omeili and Oyekunle Oluwaremi, has only been screened twice; during the maiden edition of my Shorts’ Night and at the Zimbabwe International Film Festival.
You could say that I have taken ample time to develop my art, define my style and identify my preference in genre and, now, I am going ahead to perfect the business aspect of Film-making; which highlights the necessity of making money from these movies to provide a financial backdrop for the production of more films and sustenance of the business.
Like one of my lecturers back in school would say, “You go from the known to the unknown”.
6. Your film, Verdict, is the La Vena Johnson story just like Deadwood is about the plight of pensioners. How much of an activist are you? Do you support or work with specific advocacy groups?
I believe Film-making is not just for entertainment, but it offers an appealing medium for passing across diverse messages; especially those ones which people are often too shy, timid or careful to address.
And yes – there is an activist in me. That part of me has always been there right from the outset. It surfaced a bit in my school days and has continued to pop up every now and then in whatever endeavour I undertake.
There are so many wrongs in the society that need to be addressed and so many notions that require correction. I believe film-makers can possess a strong influence, much more than even politicians and clergymen if they decide to use their practice to address issues in a way that is carefully researched and presented objectively; devoid of the guise of political correctness.
I have a special flair for such films, which I refer to a Conscience films. In fact, I am more inclined towards shooting Conscience films than films that are made simply for entertainment. I guess that’s where the humanitarian and the artist in me find confluence.
I am first an artist and an artist is a person full of “Soul, Passion and Emotion”.
Sequel to Verdict in July, 2014, I have been actively involved with groups and organizations, championing the quest to find justice for the slain soldier – whose unfortunate story is highlighted in the movie.
I believe my purpose and life mission is gradually being unearthed in a very dramatic manner, which to my understanding is foremost – divine!
7. You do not seem to be interested in TV Series, why?
TV series require a lot of funding to be able to shoot a pilot and then the complete number of episodes for a season or more. If the right funding is made available, then I will shoot TV Series.
I have shot three episodes of my AMVCA-nominated series, Kpians Premonition, hoping to use it as a bait to attract funding, especially due to the commendable production value, but guess what: I am still waiting for that funding.
8. We are sure we have mentioned the high points of your career, what are the low points (if any)?
The lowest point in my career has to be between 2005 and 2010 when I was actively working on my animated movie. I tried getting sponsorship, but got none. I tried doing it on my own, but eventually put the project in the cooler for a season due to the high recurrent expenditure on the project. Power requirements alone were draining my accounts. I remained optimistic all those years and trained a couple of young lads to equip them in readiness for collaboration on the project. Soon, the young lads learnt a few things about animation and just zapped! Then, I was back to square one – all alone.
9. You once said that you will be shooting a feature film with the cast of Horn-free Day. Will it be a feature film version of Horn-free Day or an entirely new film with the cast of Horn-free Day?
Yes, I have already shot the movie. It is called Stupid Movie, starring the cast of Horn-free Day and more. It is a feature film; but an original – not a longer version of Horn-free-Day. That’s one movie everyone should look forward to! It’s totally sick!
10. You also said that you will like to dedicate two whole years to produce animation. Have you taken any concrete steps to realize that?
Yes, I have. But I might not continue with my last animated project, Lifespan.
I am more experienced now in the entertainment business and I have developed new animated stories that will be more commercially viable and internationally relevant. I have three more movies to shoot in 2015 and right after those; I will start work full-time on an animated feature. I have also met a couple of folks who understand animation well enough to be part of a production team for such an endeavour and I am very excited about that.
11. What are your thoughts on Nollywood; in terms of the industry’s achievements and the challenges it faces?
Personally, I believe Nollywood does not lack skill or any human capacity whatsoever. The industry needs to pervade the globe and stamp our movies everywhere. It is an uphill task quite alright, but it is achievable.
I guess the industry will need to look into the underdeveloped marketing and distribution chains and make decisive changes for this to happen.
Box-office gross earnings are based on numbers and popularity. But the films have to be seen everywhere for them to have a global appeal; not just in Nigeria and a few other African nations.
12. Which older film-makers (local and foreign) do you admire and why?
I admire Quentin Tarantino because when I look at his movies, I feel like I am experiencing my own creation. I guess we must be like-minded. I also admire Teco Benson for the impact he has made in the Nigerian movie scene as a director. He is one of the few Nigerian film-makers who have endured from the previous era even until this present era because he has a unique personal style. He also has good countenance, is warm and hospitable.
13. What do you hope to achieve in the distant future, say 10 years from now?
In ten years, I shall have become an Industry pacesetter – not just in Nigeria, but internationally. I believe strongly that I will have a lasting influence, which will stem from one of my conscience films, maybe my very next!
14. What do you have to say to struggling film-makers out there, especially the young ones, who are trying to break into Nollywood?
Young film-makers should strive to develop their style and not get tangled in the web of instant gratification. To everything, there is a time and a season for every purpose under the heavens!
They should seek influence over affluence in the foundation stages of their careers, so they can sit back and enjoy the affluence that their influence will usher in as their careers as film-makers blossom.
15. Are there any other experiences or insights you will like to share with us?
Stupid Movie will eventually become my Yearly Cinema Movie. After the release of Stupid Movie 1, there will be a sequel every subsequent year!
