Nollywood : A Naysayer’s Swan Song

 So the past few weeks have been a paradigm shifting one for me in how i see Nollywood and the Nigerian film industry. First it was the teaser for “76″ by Izu Ojukwu, a story set in the 70′s against the backdrop of the Murtala Mohammed assassination. All i can say is WOW, it looks amazing, it is a first of it’s kind and i look forward to seeing it. Secondly i was at the cinema and two films completely entertained me; one was The Meeting by Mildred Okwo and the other was Phone Swap by Kunle Afolayan , both great comedies, that raised the game on all levels, writing, performance, directing and over all production quality. These movies showed me that things have truly changed in Nigerian cinema. It then finally hit me, that perhaps many of us have been giving Nollywood too much of a hard time. Hollywood had it’s stages , from the silent era, to the talkies, to color and finally the CGI overload era. As they had their stages so we should give Nollywood that room to grow. 

YES ,there are still productions with poor audio/video, bad performances and cliche predictable stories, but HEY, ever heard of B movies or exploitation movies? Every movie industry has their ugly ducklings, and Nollywood is no exception, but a few are breaking out and transforming into beautiful soaring swans.

 

Nollywood is evolving, and i believe it’s just in it’s 2nd phase right now and there is still a lot more room to grow in a world where Hollywood has come full circle and is retarding and inbreeding. 

 Now i previously wrote a blog about Hollywood and Nollywood collaborations and being excited about it , but i’m now having a re-think, though they are welcome, i think we have to be careful that they do not come and muddy the pure waters of our industries growth. Like the story of the kid that tried to help the caterpillar in metamorphosis out of it’s cocoon, but ended up killing it, too much outside interference can do the same. As Nollywood started from scratch on it’s own, during this second phase it can continue to thrive , all that is needed is to continue and increase the current momentum , master the distribution that the American seem to monopolize so much . 

If we continue this level of improvement, just like the music industry exploded beyond belief, and now we have more Nigerian music on radio and in clubs than foreign, i see a time where there are cinemas dedicated to ONLY Nollywood films , here and around the world, i see Hollywood studios scrambling over themselves to work with our directors, hire our actors and acquire the rights to our movies, but the next 5 years are going to be very pivotal, the birthing years and shift to maintenance of a steady 2nd gear. Personally, as we enter 2013 , i’m very excited about what the years ahead hold.

 

 

 

 

 

THE TIDE: THE RISE & RISE OF NEW NIGERIAN CINEMA

So a little while ago i talked about the tide turning in Nollywood. An age where the things it’s been known for; contrived plot hole ridden stories. poor production audio and visual and hammy acting. The days of Nollywood just being admired for quantity,are coming to an end and the wave of quality from New Nigerian Cinema is coming in and it has several riders.

I’ve seen several trailers that have me intrigued and excited. From the premise to the performances it seems an epiphany A-bomb was dropped on the industry and sent ripple effects around. One of the recent trailers to catch my attention is HOOD RUSH starring OC Ukeje,Gabriel Afolayan and Bimbo Akintola making a return to acting after a hiatus Another is also starring OC Ukejwe,co directed by James Omokwe & Ethan Okwara, a true indie film made by a couple of friends on a tight budget.

The first being a musical thriller with two of the hottest young actors in the game. I foresee a very bright future ahead of these two if they keep making the choices they make. From the trailer, i can say I’M very excited.The latter , is a film, about movie making. The first of it’s kind as far as i know for Nolly (of this production quality anyway). One of my earlier entries talked about “Lions of 76″ and “Half of a Yellow Sun” going biopic/historical,and hoping the kind of budgets they had would become more frequent, in spite of that though, with these contemporary stories things just keep getting better.

Everyday there are new film makers rising. Both resident here and those returning home, (much like the music industry), fresh blood and new thinking is changing things and the quality of work we are seeing. From short films to tv shows the game is changing and it’s evident that things aren’t what they used to be. Films directed by Nigerians are now getting wide theatrical openings and screenings in Europe and America , something that didn’t and couldn’t happen some 7 years ago.

If we keep up this momentum and keep raising our game, i see Nigerian Cinema being a rally point for black actors and being the go to place for International collaborations in Africa. We may see a time when African Americans no longer play African roles but our body of work showcases that we have enough talented peeps to play the roles. In fact, i foresee it getting to the point that Hollywood is throwing money at us just so we can create content so they can service the diaspora market.

The tide is rising, and i pray we ride this wave like the big one.

NB: As i haven’t seen any of the films, im basing this on trailers and teasers that have been released. Like everyone else i’ll have to wait to see the final outcomes.

When Holly met Nolly

Recently there has been an influx of African American and Diaspora based Nigerian actors to Nollywood for collaborations. Ok, maybe not an influx, actually more like a treacle, yeah, that’s it, a treacle of Hollywood actors.

From Hakeem Kae Hazim (24,Season 8),Kimberley Elise(Set it off,Dairy of a Mad Black Woman),Isaiah Washington(Grey’s Anatomy,Romeo Must Die) and the currently shooting adaptation of “Half of a Yellow Sun”,starring Chiwetel Ejiofor(Inside Man,Redbelt),Thandie Newton(For Coloured Girls) and Dominic Cooper(The Devil’s Double). The casting(of Newton) which set off a fire storm on the net when announced, but that’s a topic already covered.

Hazim was in Jeta Amata’s Black Gold(now Black November) and in Obi Emenloye’s sophomore outing “Last Flight to Abuja”. Kimberley Elise in “Ties that Bind” and Isaiah Washington in “Dr Bello”.

What brought them to Nigeria? Is this the beginning of new things? Is there finally a Hollywood/Nollywood collaboration? Or is there something else at play?

There are mixed opinions within the industry. Some are against it. Some are apathetic. Some are excited and see it as just a catalyst for bigger and better things.

A few people see it as naïve to believe that anything good is going to come out of this. Their opinion is that, the Western imperialists are doing what they’ve always done. Come to Africa , take advantage of our resources and leave us with the short end of the stick. Kinda like our oil situation.

Some see it as “has-been” American actors coming to Nigeria cos they can’t get work at home. Hence, they need us more than we need them..or in fact, We don’t need them at all.Howz that for National Pride, ey!

While each opinion deserves it’s fair share of consideration, each person has a reason for having such a perspective. Me!! Until proven otherwise I choose to drink the glass of water while the optimist and pessimist are still arguing.

Here is the kaleidescope I’m looking through:

1) With these collaborations, some of our actors who need to step up their game will be forced to for three reasons.

i) When they work with classically trained western counterparts, those less talented ones would see where they really are skill wise outside their protective circle of psycophants.

When they attend an audition and can’t pull off a monologue,and are promptly sent off, they’d see it’s not about being pretty and yelling about a cheating boyfriend or “you slapped me,Chidera you slapped me!!”.

Let’s face it , there are loads of people on screen calling themselves actors, with a gazzilion fans, that wouldn’t pass an audition for a high school play anywhere else in the world.

ii)Those that actually do have talent will still learn something,from the western counterparts. Who would have worked in more genres, diverse roles, and on action, high concept and epic films whose catering budgets could bank roll our persons last 30 home vids all their sequels, with enough change left to shoot 5 seasons of Tales by Moonlight.

iii) Working on a film that is shot within 60 days and one shot in 3 days have different discipline and approach. The actors will see the work ethic, expected performance and manner of shooting is different. So true ability will be seen, and much can be learned.

There will sifting of the chaff from the wheat and those with great looks, little talent and a lot of ego, could possibly reasses their perception of their ability when they can’t pass auditions or have to do 20 takes till the director is satisfied, when for years they’ve been used to just one “abeg make we do am comot” take.

2) When such collaborations reach the Cinemas in the west, those not usually exposed to Nollywood, could see the performance of certain actors and seek them out for jobs either there or when they have projects on the continent.

On twitter, Isaiah Washington raved about working with Genevieve ,stating something like “she’s the most professional actress I’ve ever worked with”, I forget the exact wording. (Na true or na wash na him sabi).

You never know who he shares an agent with, who that agent goes to lunch with or plays golf in the same club. Which producer/director will see one of our actor’s performance in a Holly/Nolly film ,and say “I want him/her in my next film”.; or that Kimberly Elsie won’t suggest to frequent collaborator, Tyler Perry,

“Hey I met this Nigerian actress on a film we did together,she’s brilliant, get her for the African role instead of getting an American to force a stereotyical accent”

6 Degrees of Seperation people!!!!

Loads of British Born Africans, are making it Stateside,playing all sort of roles. Idris Elba,David Oyelowo,Nonso Anozie ,Sophie Okonedo etc . With the right dialect/Accent coaches who says talented Naija actors can’t do the same?

3) If these films go on to be successful in the box office in North America and Europe,Hollywood studios could realize the market here ,see the investment possibility of funding films in Nigeria and setting up studios here.

MTV,TRACE and BET have come for music, so why not Columbia,Universal,Paramount,Disney etc for movies! Which can eventually inspire indigenous-ly set up studios.

Fox Searchlight, which is 20th Century Fox’s indie arm, already did that with Bollywood, “My name is Khan” being one of their co productions and It was a very good film. Why not in Nigeria? Who says it can’t happen?

4)Exposure to a broader more diverse global market and opening of possibilities for Nu Generation of Nigerian Directors. Those that are coming up and don’t have the ear of Alaba funders, nor the desire for such. There are a lot of talented young directors out there as evident in excellent shorts they’ve made, but no outlet.

Now, don’t get it twisted.

I’m NOT saying we absolutely need them to thrive and won’t without them.

I’m NOT saying that they are our only way out of the vicious cycle we all complain about.

I’m NOT saying that Hollywood is some sort of guardian or saving Angel.Far from it, they have their own many issues.

There are loads of Nollywood producers and directors who are doing well enough to reject any such offer,spit on it with disgust and tell oyibo where they can shove their collaboration. That’s cool. Elijah Mohammed would be proud.

For those open though,I’m just saying it’s an option worth exploring. Afterall ,we can’t keep doing exactly the same thing and then moan we aren’t getting better results.

If you have to get across the river , and a man in a speed boat offers u a ride as opposed to the canoe filled with holes and a drunk paddler you have, will u say “NO!!, I don’t want your help you decadent imperialist”. Ok, some of you might, but It all depends on the deal you make for yourself.

Several European film makers, got invited to Hollywood after making successful films(critically&commercially) at home.

The Swedish Director of “Let the Right one in” next directed “Tinker Tailor Soldier Spy”.

The German Director of Oscar winner “The Lives of others” next directed “The Tourist”.

Bringing it back to “the motherland “, South African Gavin Hood, who won an Oscar for Tsotsi, went on to direct X-Men:Wolverine Origins

Ok, so some of their Hollywood debuts paled in comparison to the films that got them noticed. I’m sure due to interference by suits, constant notes/memos and little creative freedom. But the point is, They Got Noticed !!!! They got the chance to work with much bigger budgets, reaching a much wider audience. And with time will get that creative freedom or at least more wiggle room like Nolan went from Momento to Inception.

Who says that can’t happen for a Naija director? Who says a Naija based director with a brilliant feature can’t be handed a project like those?

Film collaborations between two countries is not a new thing. Britain and France have done it for years (Pathe and Working Title). The British and the Americans do it a lot. The Americans shoot A LOT of TV and film scripted in the US in Canada, hiring Canadian cast and crew, and thereby putting money in the economies of the cities they shoot in. Canadian actors get work,Canadian hotels and restaurants get business. Many of those Canadians became big stars in Hollywood Ryan Reynolds,Jim Carrey,Mike Myers etc While it may not work like this for “ethnic and exotic” actors. When you see people like Djimon Hounsou and others,you know it’s not impossible.

One of the belly aches about it is the financing. Whose pocket does the money go back into? Does it stay in the industry? Is it going back abroad?

Well, I guess he who drops the money gets the profit. If we financially co produce I guess that cuts a different deal giving equal say in profit sharing.

But in that naysayers argument or logic. They forget that a lot of crew and supporting characters will be Nigerian,as is happening currently in the “Half of a Yellow Sun” shoot. Now, I don’t know about the DP and above line crew members, but as we show we are as competent as them, they’d realize it makes more financial sense to hire indigenous DP,AD,2nd Unit Directors etc who can do the job just as good. Fing Fang Foom,Hey Presto!!!, Jobs for awon boys. (In absence of politicking,neo colonialism and tribalism)

It may be a phase,it may indeed be an imperialist move. They may not be coming here out of the goodness of their hearts,(after all,it’s called Show BUSINESS not “Save the Nigerians”).

Yes Hollywood is cut throat and a lot of the time is only out for the bottom line, but isn’t that the same thing here we “artists” moan about.

So for the time being,I’m gonna chose to be naïve as some call it, and focus on the hypothetical possibilities it could bring to the industry, for talented upcoming film makers and actors.

Nollywood- Just my imagination

It’s said that “Imagination is the greatest nation on earth” So Ladies and Gentlemen I ask you to take a journey of imagination with me.

Imagine a time, where films from Nigeria are reckoned with on the same level as Hollywood and World Cinema in ALL categories;Cinematography,Performance,Screenplays,Editing,Sound Design,Score and the general entertainment value.

Imagine a time where the work of Nigerian born directors are as unique and recognised as their global counterparts. As distinctive as a Kubrick,Hitchcock,Scorcese,Kurosawa etc

Directors that pioneer ground breaking things in their movies, starting trends and creating cinematic benchmarks that inspire and awe.

A time where the work of our directors influence the next generation of film makers on a global level. Making generation and decade defining films. Remember, “The Matrix”,”Fight Club”,”Star Wars” and how they affected their respective generations?

Imagine a Time that, when the worlds most influencial film makers are mentioned, Naija directors are regularly listed because of an undeniable contribution to the world of cinema.

Imagine a time where funding is not the nightmare it is today. Where there are numerous mega studios that commision and see projects from screen development to the red carpet premiere and eventual global distribution.

Such a move could make Nigeria the film making capital of the continent. And like Hollywood, draw actors within Africa and other continents,causing a massive influx of skill and talent and investment to the industry.

A time where our films are stocked in video stores all over the world. Where HMV,Blockbusters,NetFlix,Love Films carry our movies right next to Hollywood and Bollywood films. Where on Rotten tomatoes there are rave reviews, high ranking on imdb and millions of downloads on i-tunes.

Imagine a time where like the British ,Spanish and Australian actors and directors that work in Hollywood, our own stars and directors are sought after. Delivering such great performances that they contend in the same category as their European and American colleagues for Best Actor award.

A time when African Americans are no longer called to play roles of Africans or historic African figures, but they come straight to us to cast. WHY, because of our home based actors are so impressive that they know this is the best place to come to find world class thespians.

Professionals so masterful of their craft that producers and directors refuse to green light without them on-board, not for marketing reasons but because they know that their contribution would take the movie to a higher level.

Picture a time where we have proper sets, locations, consummate professional cast and crew, that Hollywood comes calling for collaborations and co productions.

Similar to the way they go to shoot in Canada for location and tax purposes,so also when they require a tropical,exotic or African setting this would be their first port of call. Where they come on a regular basis to shoot and work alongside us.

Imagine a time where distributors from Europe and America are running after us for the rights to our films to put in cinemas and sell on Blu Ray. Where international producers clamour over themselves to option the scripts of our writers because of their amazing stories and unique voices. Where like Sorkin. Mamet and Alan Ball who are known for their distinct writing voices , so would the names of our masterful wordsmiths and scribes.

Imagine a time where Nollywood rivals and even dwarfs the oil industry in terms of employment in a very formal and traceable manner.

Can’t picture it? Doubt it? Wondering HOW!!!??

Ok look at it this way. Outside cast and the usual suspect crew members there are a monumental number of roles.

Formal and structured Nollywood would be a massive employer . With mega studios, production/ post production houses, these are just some of the career opportunities

Blue Collar jobs: Electricians,Carpenters,Tailors,Caterers,Cooks,Plumbers.Drivers,Transportcoordinators,Painters,Tillers,Cobblers,Security,Gardners

White Collar jobs; Accountants,Marketers,Public Relations,Business Managers,Human Resources,Agents,Talent Managers,Administration,IT Dept,Tech Support,Programmers etc

Creative Jobs; Designers,Graphic artists,Web Designers,Story Board artists,Art Director,Set Designer,Set Decorator,Still Photographer,Orchestra,Music Supervisors and many artistic roles Clothing designers.Costume Makers etc

In post production there are Editors(on line and offline)Sound Effect,Colorists,Graders,Editors,Foley Artists,Sound Mixers,Sound Designers,ADR Mixers

At the tail end, there would be more cinemas countrywide as a result of industry growth at least one in each LGA. These cinemas will employ people to sell tickets, sell snacks and drinks,Ushers to manage the viewing halls. Agents to acquire the films. Managers to run the business. Loaders to maintain and run the projectors .Custodians to clean the facility. Accountants to manage the finances.

A structured industry like this will create jobs in other industries that work with directly or indirectly and service the film industry

Imagine the number of Banks and account managers needed by those employed in the studios,production houses,distribution companies.

The accounting firms needed to manage the money,personal and coorporate.

The phone bills they would rack up on deal making calls vendors that need to sell them credit, customer service workers that need to attend to them?

The number of hotels they would book for cast, crew and management.

The transportation companies that would be hired to ferry people around?

It’s influential tentacles would spread far and wide.

The fashions designers,photographers,magazine editors,crew members,caterers,event organisers,interior decorators,party planners,equipment hire that would all be getting paid,as a result of the industry growing to a level that there need to be more than one major movie award night annually just so everyone gets a shot of acknowledgement.

Are you getting the picture?

In a Nollywood like this the employment opportunities are so numerous,diverse and encompassing of various skillset, that it would be a large contributor to the National GDP as it covers so many fields.

I dream I dream and I hope and pray that one day all this would the reality.

However with what’s currently on ground some could say it’s a pipe dream perhaps a psychedelic hallucinations ,some may already be calling the men in White Coats.

Hollywood was not brought down from Mount Olympus and assembled like a celestial lego set.It started from scratch by some people with a vision and passion. Bollywood to, a place a lot of post pro jobs are being outsourced.

There are a gazzillion hurdles to leap to get there,it may take a decade ,5 or even 9. All depending on vision,commitment and passion, but it is possible.

A lot of roles need to be approached more professionally. Access granted based on skill,proven record or evidence of immense passion and potential and not “my brother,my town person”.

The establishment of schools and training facilities to prepare people for roles in this industry or apprentice/under study roles if school is unavailable.

The industry needs to stop being a refugee camp for failures from other industries,or people with no training or knowledge that think they can just wing it with claims of ‘natural talent’ without any training or education(formal/informal).

When we treat the industry as seriously and as professionally as Lawyers and Doctors treat their profession, then we have commenced the journey. By imbibing professionalism and a creating a road map toward the promised land maybe unlike the Israelites we can shorten our journey and not rigmarole in circles for the next few decades

Half of a Yellow Sun – The Adaptation Debacle

The recent news of the adaption of Chimanada Adichie’s Award winning novel “Half of a Yellow Sun” into a motion picture has caused a firestorm.

All over twitter,face book and blog Nigerians have been irate over the casting raising several objections.

1) The movie being made by Westerners and not Nigerians

2)The casting of Thandie Newton and not a Nollywood actress.Arguments being

i- She’s too yellow and skinny(apparently igbo girls aren’t either) and does not look igbo.

ii- She’s boring

3)Even accusations that Chimamanda sold her soul to the West by giving the movie rights to “foreigners”.

4)Why it’s not being directed by a Nollywood director.

I found this whole firestorm interesting cos when I first read the book in 2007 I thought to myself

“Wow,this needs a movie adaptation”.

As a budding director learning film making at that point I was excited about such potential the book held

1)It was a fascinating read

2)With it’s Biafra backdrop it was a relevant story that needed to be told on the big screen.

3) As a compelling story it could be a catalyst for a wave of change across the industry in the types of films we are known for thereby bringing a whole new global respect for Nigerian film.

Months later I would run into a childhood friend who had been in the UK for a while .Only to find out he was also a budding director. Two budding Naija directors in the motherland of Alfred Hitchcock,Pinewood Studios and the James Bond franchise. We were excited.

Though we had not seen each other in over a decade our mutual love for all things cinema made that a moot point. In our numerous discussions about the movies we love and the ones we’d love to make the Nigerian film industry usually manifested.

We’d talk script,stories ,adaptations and being a hot topic at the time HOAYS always entered our discussions.

We’d analyze how it could be adapted,

The relevance of such an adaptation and who would be the first to actually option the book.

Was the Biafra War still too fresh a wound to reopen and place on the big screen?

I guess the questions we asked ouselves as far back as 08/09 have now been answered.

As much as I would have loved it to be a wholly Nigerian opportunity. Let’s put sentiment aside and be pragmatic.

Why all the sudden noise?

With all her critical acclaim and the global literary icon she has become nobody did anything?? No Naija producer saw the success of the book and they international attention it received and thought

“Hey this is a great story from our perspective let’s make a movie”

Nobody!!! Seriously, Nobody!! Why??

Now there’s all this shout of “our story”.

Wasn’t the book not picked up and published by a foreign publisher? (Before being republished here)

Has her career not been promoted by the West more than home? I’m pretty sure there are more Europeans and Americans that have read the book than Nigerians. Why should we let anyone else sing the praises of our heroes louder than us.(Food for thought)

Let’s talk technical terms. The actual practicalities and logistics of getting it made:

It’s a period piece, set in the 60′s against the backdrop of the civil war .

Even if a naija based director optioned it and had a great script that remained faithful to the script

i ) Would the budget he’s given be enough for an accurate recreation of the 1960′s? A mirror recreation of the aesthetics of that time?

ii) Do we have art directors experienced in period pieces ? Those that have proven the capablity to replicate foregone eras? Recreating the 60′s in costume,hairstyle,set design,furniture,location construction?
If we do pls correct me but from what is present in Home Vids I haven’t seen any evidence of such nor does it seem a priority.

‎Another question we should ask.

iii)Which Nollywood producer would be willing to stay 3-5 months shooting 1 film? When they are used to making 8-10 in that same period and getting their money back immediately.

The way the system currently works, has no frame work for such a production. Can it happen, yes. But that’s hypothetical not practical and certainly not the norm.
——————————————————–
There are some Naija based producers,maybe not specifically a part of Nollywood so to speak,but pure cinephiles. Who would take that time but are limited by lack of resources.
———————————————————Even some of the films shot within two weeks, the directors are still under unbelievable pressure to wrap up. Would that be the approach here?

iv)Which producers, if any, tried to option the book and have a track record of making a succesful film of this type?

HOAYS is a deep,complex and compelling story that needs historical accurracy on all levels?. And it can’t just be shot cut and released in under a month. That may be ok for other stories. But for something of this magnitude special care has to be taken. This could be the Cistine chapel of Nigerian stories.

The accusations of Adichie “selling her soul” I find are atrocious and not well thought out.

Let’s remember that it’s a work of fiction and the Biafra war is just the backdrop not the meat of the story.

The characters are fictional, complete creations of her own. So why doesn’t she have the right to option it to whoever she wants?

v) Did any Naija producer approach her for the rights and come back to say she refused?.

How do you know whether they(BFI) begged for the rights and then convinced her with a pitch of their vision on how to they wanted to bring it to life?

Also according to several sites reporting news of the adaptation,it’s stated that part of the financing comes from “Nigerian private equity”. What their own terms and conditions were, if any, remain to be known.So not only are the director and lead actor Nigerian but so are are some of the financers, that’s quite a Nigerian contribution innit!!!

All the claim of “our story”, “she sold her soul” is nonsense. Maybe by not insisting on certain terms and conditions for the inclusion of indigenous cast and crew she was not so strategic, but come on people.Sell Soul. Mr Faust she aint.

What we should start to ask.Are we nuturing the next breed of upcoming writers like her? I know a brilliant UK based Naija born writer I met on twitter she’s like a mix of Stephen King(Suspense/Horror) and Jackie Collin(steamy). Where’s her opportunity? Will a Naija publisher nuture her talent or will we allow Britian and The US also recognize and nurture people like her, then we start to claim them once they are famous and cry foul like now?

Ok, what are producers doing about her other book “Purple Hibiscus”?

What about all the Wole Soyinka and Chinua Achebe, Ben Okri, Chris Abani books? Why haven’t most of them been adapted to the big screen by home based film makers if not all? After all, Soyinka and Achebe’s books have been out for decades?

Let’s face it. If it HOAYS was directed,cast and shot here and they messed it up by shootin in two/three weeks without attention to intricate character,story,location details. All those patriots will cry foul and reign abuses on the actors ,directors and producers.

Shouldn’t the real concern be about who will take the pains and pay attention to the intricate details ,making the film accurate? Make a film that in 30 years time is still talked about and holds relevance in the cinematic community globally?

Won’t it be best to make the film with those who can pull off the characters story and tone rather than casting by who has what DNA?

Yes, there are probably a few unknown home based Nigerian Directors that could pull it off, but where is the backing? Which Naija producer will raise the size of budget the BFI is providing and spend it on one film? And if they do,are the locations and other logistics gonna allow them to do the very best to make it accurate?

Again if I’m wrong please correct me.

The issue was also raised about the British actors (Chiwetel and Thandie)not nailing Nigerian and in particular Igbo accents. Dunno if that was a joke though but will adress it.

Anyone that is well versed in cinema knows the levels many professional actors go to master the roles and characters they are going to play. If not please go research thespians like Daniel Day Lewis,Denzel Washington,Al Pacino,Robert DeNiro.You’d be amazed to see how far they’ve gone to get a character right, I certainly was.

Learning accents,and culture,the mannerisms and psyche of the characters are things they are taught when they received their training and things they do on their own when preparing for roles.

I’m not a Thandie advocate so I’m not really going to go into lengthy justifying of her casting but here are a few reasons I think Chiwetel is brilliant for the role and I’m sure numerous of the “activists” agree with me.

Apart from being a respected actor who has worked under the direction of Spike Lee,Ridley Scott,David Mamet Steven Spielberg and many others Chiwetel is also a consumate professional of the stage and screen.

He has received numerous acting awards and award nominations, including;

The Jack Tinker Award for Most Promising Newcomer at the 2000 Critics’ Circle Theatre Awards.

The 2000 London Evening Standard Theatre Award for Outstanding Newcomer

A 2001 nomination for the Laurence Olivier Theatre Award Best Supporting Actor.

The 2006 BAFTA Awards Rising Star, three Golden Globe Awards’ nominations,

The 2008 Laurence Olivier Award for Best Actor for his performance in Othello.

That’s quite a pedigree for any actor, not to talk of a Black Actor of Nigerian heritage in an industry notorious for institutional racism.

Is trading his thespian capability really worth an accurate accent? (Not that he can’t pull it off) and under the direction of fellow Nigerian and acclaimed writer Biyi Bandele I’m sure they’ll do the necessary research to keep it real.

I do feel one thing REALLY needs to be emphasized.

It’s called “show BUSINESS” people!!!.

The film has to sell all around the world. It’s hard enough for a movie with an all black cast movie of known faces to sell in Hollywood and Europe.

Just ask George Lucas, a phenomenally succesful Producer, who recently mourned the difficulty he faced in finding financing for his most recent film “Red Tails” which has an all Black Lead cast.

He had to use his own money after several studios turned him down. Turned LUCAS down!!!.

They turned down the man who created Star Wars which has penetrated pop culture for close to 40 decades,created a billion dollar franchise that has crossed several generations and virtually invented geek culture.

How do you think they’d react to an African story, with unknown faces ,one about Nigeria in particular. A topic which does not exactly warm the heart of the average Westerner.

Do these “our story activists” really think the producers are going to use unknown Nigerian faces? Who would they market those faces to? Joe Schmoe that has never seen a Home Video or even know of their existence?

Leading man Chiwetal has been in Huge grossing films from “The Inside Man” to Mayan prophesy disaster movie “2012″ which made $700million and is the 5th highest grossing film of all time.

He’s made smaller films like “Dirty Pretty Things” for which he won a British Independent Film Award for best actor.

Thandie Newton is a globally known face she has worked with directors ranging from John Woo to Guy Ritchie to Tyler Perry.

Strictly from a marketing perspective like her or hate her she has more global visibility than some indigenous actresses that have been suggested. If the objection is that she’s too skinny she can do what Renee Zelwegger did to prepare for her Bridget Jones role.

The Executive Producers have to make their investment back by selling tickets. Do the “our story” activists(osa) think patriotism will recoup the investment ?

Let’s ask ourselves another question.If it had been made wholly Nigerian like some of the OSA are suggesting.

How many screens worldwide would it be seen on?

Which Naija producer has the same clout as the entire BFI to get it on screens in all around the United Kingdom as well as Texas,Stockholm,Perth, Ottawa etc?

Abi is the story only for Nigerians to see?

No matter how wonderful a film is, if people don’t get to see it,or screening is limited to a handful of places, there is no point. Financially it’s a failed film and does nothing for those involved.

Once again it’s “show BUSINESS” and many Nollywood producers practice the very same thing. They cast a face they believe will put sell DVD’s and for those that go to cinema put bums in seats.
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NB- For the record I would have LOVED for it to have been a Naija outing.With the right Director,Producer,Cast with the budget that a film of such a scale requires, No guerilla film making here.

But as a film maker I have to be practical about the best execution of the script and the marketability of the final product.
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The BFI that put up the money and the team handling it did a pretty
good job with “The Last King of Scotland”.

Would it have been a better film if a Ugandan was cast as Amin? Who knows. But Forrest did a stellar job so it really doesn’t matter what we speculate.

Now I’ve said a lot to defend the choice of the producers ,Let me be fair and take a look at it it from a Pan African point of view ,let’s take a look at some of the things they overlooked.

There are a number of African Directors that could have handled the material.

South African Gavin Hood,who had Oscar success with “Tsotsi” and went on to make X-Men:Wolverine Origins

Also South African Niel Blomkamp that grabbed the attention of Peter Jackson with his short who then produced the stunning feature debut “District 9″ that Blomkamp wrote and directed. (Although not sure of how he sees Nigeria).

Abderramane Sissako who made “Bamako” Was a Member of the jury at Berlin International Film Festival in 2003 and the Cannes Film Festival in 2007.

‎​Idrissa Ouedraogo from Burkina Faso who made films like “Samba Traore”. He won the Silver Berlin Bear and was nominated for the Golden Berlin Bear in 1993.

Newton Aduaka,of “Ezra” who In 2001-2002 was Filmmaker in Residence at Festival de Cannes’ Cinéfondation in Paris. He, like Adichie and Chris Abani has been a keynote speaker at TED Talks.

Thomas Ikimi who received critical acclaim for his feature debut “Legacy” starring Idris Elba and Eamonn Walker. He won the Grand Jury Prize at the American Black Film Festival 2010 and was nominated for the Raindance Jury Prize in 2010 for his debut.

And there are several others who may not be household names but are equally capable. From their short films I’ve seen and recalling the discussions I’ve had with several young Nigerian directors I realize that several of them could also handle this material. The passion for both all things cinema and storytelling indicates such.

From an Economic and career prospect perspective; there really should be several roles for Nigerian actors. Roles that can be spring boards for budding talents to make that leap from aspiring to full time thespian.

Getting young actors to be supports in bits roles in movies of this scale and relevance helps their profiles in the industry and it breeds authenticity. Like a part of the book where some of the members of the houseboy’s gang when they go out to fight‎​.Will they not do right by casting some young igbo boys in it? “City of God” managed to cast loads of local kids and it turned out brilliant.

Even a young director like myself and others could learn a lot .Either working on the Directors team,
Producers team,
Director of Photography’s team or as
A member of the 2nd unit.

Imagine what it’d do for the CV of a young professional to be the 2nd Unit director on a film like this. DJ Caruso(Eagle Eye,I Am Number 4) started out as a 2nd unit director and look where he is today.

Set designers,Wardrobe,Make Up,Gaffers,Best Boy, and all those departments could hire and give great experience to young Nigerians. In the process adding to the economy of the Nation that inspired the story.

Maybe THAT’s the real beef those with objections have, and it’s not all about the tribe thing as it seems to come off . Some in that group are annoyed as they see the opportunity forgone.

The potential and opportunity it could have for young Nigerians in the film industry those in front and behind the camera. This could be a chance of a lifetime to see how filmmakers from other parts of the world work. The fully rounded characters and engaging story could be the breakthrough role that changes the career of young actors.

Maybe the producers could find one or two reputable indigenous production outfits who would be technical support. Providing crew for the project in the roles of 1st Assistant Director,2nd Assistant Director 2nd Unit Director. Production Assistant.Focus Pullers and other roles.

Those companies could also coordinate auditions for those non marquee roles to be filled out by young Nigerian talent.

Even some young actors could learn a lot by being “Mr Ejiofors assistant” and things like that. Many now known actors,writers,directors,producers started and got their big break while they were assistants .

The beef or rather, strong objection with Thandie could be thoughts of

“We have equally talented Nigerian actresses, some yet undiscovered, others already well versed in the industry eg Genevieve”. Why not cast her opposite Chiwetel and add more authenticity?.

And that makes some sense ,not only will it draw the Afro Caribean fans of hers in Europe and North America, but it’s a great way of raising the profile of Nigerian talent. After all,she’s igbo,very beautiful,has been profiled on Oprah where she was called Africa’s Julia Roberts.With starring roles in Ije:The Journey and Mirror Boy (which had international outings) and as the face of Lux, she is not a totally strange face to the West.

From cinematic history sometimes casting an “unknown” could just be the answer to creating real movie magic. Look at the then unknown Al Pacino as Michael Corleone in “The Godfather” and how it turned out.

When looking at it from that angle it’s easy to see why people got so upset about the whole situation.

JK Rowling of the Harry Potter books did good by British talent by insisting that a large percentage of the cast and crew be British. Due to that deal Daniel Radcliffe,Emma Watson,Rupert Grint and other young actors now have fledging careers. Also stemming from that a lot of other young professionals behind the camera now have those films on their on CV.

There are loads of massively talented young actors that even with a five minute role, (like Brad Pitt’s stoner in “True Romance”) could make a memorable performance and launch a career.

These guys just need the right avenue to display their talent. Like fireworks their beauty can’t be seen till the fuse is lit and a project like this could a perfect fuse lighter.

Maybe Ms Adichie should have made that part of the deal.Insist that a certain percentage of those involved in the film infront and behind the camera had to be Nigerian.Maybe she did, we’ll have to wait and see cos I’m not even sure if it’s going to be shot in Nigeria or another African country that can pass as Nigeria without the hassle.

Another reason for the outcry maybe a subconcious concern for the sensitivity in which the story is handled. The civil war is still fresh in the minds of many Nigerians. Some of the younger generation have heard the stories from their parents, fathers who were soldiers in the conflict. So they don’t want a Hollywood,generic approach to an African story.(Although BFI is not Hollywood) But those are some of their fears,nobody wants another film about Nigerian that turns out like “Tears of the Sun”. I remember how annoyed the inaccuacies of that film got me.

But I feel certain that Ms Adichie had the conviction that her story would be handled with care. With Biyi Bandele on board as Director, who happens to be a fellow writer,I’m sure he’ll remain as faithful as possible to the material.

The more I think of it as a Pan African Film maker rather than just a film maker the more inclined I am,maybe not to agree with, but at least understand the perspective and concerns of those with objections.

They should be warned though, that a screenplay adaptation can never be 100% replication of the book. Fans of The Bourne Series and The Harry Potter Books can testify to that.

The lesson here to film makers and actors is that we should continue to improve ourselves to that opportunities like this don’t pass us by.

Directors should work with and demand from screen writers compelling stories with rich and engaging fully rounded characters. This in turn gives the actors roles they can fully sink their teeth into. Challenging roles that would make them really go the distance.

Directors should as make films that have their personal stamp on it.Distinct films that add so many more layers to the source material.

Tarantino is known for his stories and dialouge. David Fincher for technical mastery. John Woo for his visual flare. Let the world start identifying Nigerian directors for their own unique styles. Our fingerprint in the world of cinema. That way we impress them so much that they approach us when opportunities like this show up. They consult us and make us offers.

So after all the dust of the outrage settles the lesson is “Don’t Dull”.

There are MANY novels that can be and should adapted. “Things Fall Apart” is RIPE for a movie outing. It has been ripe for many years. Why hasn’t ANYONE adapted it ?

Yes it was made into a TV series many years back, but what about a big screen outing?

Can you imagine what that could be like? Maybe an “Apocalypto” type approach would be the best for that story. All indigeonous faces, shot in igbo with only english subtitles.

Now THAT would be really something. It would make a wonderful epic and there is already an international reader base that would watch it if it’s executed right.

Abi una go wait till another “foreigner” comes to tell “your story”? Chikena

Authors Note-< Now i realize that some people would see this as an anti Nollywood rant, and would take great offense. But this was a response to the insistence that nobody else but Nollywood should have received the movie rights. They made no suggestion as to which producers they felt could handle it, or which directors. They just made blanket statements, most of which were out of tribal sentiment, some just came off as Xenophobic and quite disturbing.

Now, i am not writing off the entire Nollywood. There are hardworking and excellent Producers and Directors out there, but for the reasons i stated such as how productions are run here,budgetary reasons and the whole art design thing. I feel even those talented producers may not have the tools to enable them shine.

The other African Directors mentioned have handled similarly topical and sensitive projects that have gotten them global critical acclaim and some of them commercial success and international awards, that have led to jobs in the US and around Europe and because of those reasons they were mentioned.

As a Nigerian that is a film maker, i will be classified as Nollywood, so i, just like most others want it to work, and pray so . There is so much potential , and the friend i mentioned and i talk about it all the time.
Nigeria ,and other African Film Makers , have the opportunity to build something. Create a niche that even Hollywood will marvel. But we can’t ignore the issues holding us back.

The sooner we face them the sooner, we can sit down and brainstorm to find a solution.

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FilmMaking:Between a Niche & a Hard Place

Nollywood is one of those topics that polarizes people. From those inside the industry,the fans that buy and watch and those that hold it in disdain and completely dismiss it. It’s almost impossible to come across it and not have some sort of opinion on it.

For many new generation film makers the fascination by millions of fans leaves them…, well fascinated albeit through a route of bewilderment. If the average fan is asked why they love it, many can’t quite describe exactly why but they do.

I too pondered and try to asses why,one day EUREKA !!! A moment of clarity.

Nollywood has carved out a distinct niche and seized hold of a demographic similar to the way, Blaxploitation,Grindhouse and Roger Corman movies did in the 70′s and 80′s. The way Tyler Perry has done in the Noughties.

So let’s take a look at the whole niche factor. First let’s take the Vampire craze that’s been on for the past few years or at least revamped and grown in popularity in the past decade as seen in the Twilight films, and tv predecessors Buffy,Angel and now True Blood and Vampire Diaries.

Fans of the Twilight series are far& wide and very faithful to the series.They blog about it, buy the books, watch the movies,Choose loyalties to characters (Team Jacob,Team Edward) and some go as far as filing their canines to look vampiric. No doubting it , they love vampires but it is svery unlikely that those same fans would find Bramstocker’s,or John Carpenter vampire movies appealing. Nor will they rush out to buy a DVD of “From Dusk Till Dawn”,”Fright Night” or “30 Days of Night”. So when writing a vampire film, do you have both audience in mind? Or do you just chose one and stick with that tone.

When speaking demographic let’s take two directors .Spike Lee and Tyler Perry. Both make films that are targetted at a mostly black demographic,both experience different levels of succes. But it is very unlikely that those that follow Spike’s entire body of work, will rush to the cinemas to check out Tyler’s latest release. Both writer/directors with very different appeal to the demographic they target. Spike is a highly respected auteur and can be considered an authority when it comes to cinema. Perry!! Errr not so much, but few people have built a fan base a quickly as he did. Since Perrry has had more financial success in the past ten years than Spike in about 30 years, does that mean Spike should make the same kind of films that Perry does?

Let’s look at the action genre. There are many directors succesful in this genre. John McTiernan,(Die Hard,Predator),John Woo(Killer,Hard Target,Face Off),Luc Besson(Leon,Fifth Element,Taxi) and maybe the most commercially succesful action director is Michael Bay. Though fans of the genre, there are many John Woo fans that will never go to see a Michael Bay film. In fact as much as Bay may be a box office King, there are many that hold no love or respect for him as a film maker and will never go see a film of his.

When it comes to Indie films, you either love em or leave em.

Indie films usually only appeal to Cinephiles. Those that have a deep love for all things cinema and search for as much divesity as they can find. These are usually the same fans that go out to find great foreign language film as opposed to those that can’t be bothered to watch anything not in english,and actually completely write them off without even watching.

Indie films have a certain niche,and they know it. They are usually low key and mellow, with character driven stories starring usually non A list actors. Since there isn’t an explosion,gun fight or car chase in it, some people will never have an interest in it.

Films like “Lost in Translation”,”Little Miss sunshine”,”500 Days of Summer” amongst others have won awards,and critical acclaim, but have no appeal to the average bubble gum ,pop corn viewer, even though they star some pretty big names that they’d watch in a bigger budget more mainstream movie.

Woody Allen has an audience that have faithfully followed his work for many years,but there are also those that won’t even give him a chance due to the kind of characters he creates and stories he writes which aren’t so mainstream.

He may not be a film maker but I found it profound when brand expert and former Ad Agency Deutsch Inc CEO Donny Deutsch said

“Who says universal acceptance is the answer to anything? Show me one product one person one idea that appeals to everybody. You can’t.-DONNY DEUTSCH

Bottomline!!!, You can’t make a film for EVERYONE, the film will suffer in some parts as you spread it thin trying to cover all bases.

Find your target audience that likes what you love to create and stick with them, deliver a kick ass movie and make loyal fans out of them. As Donny Deutsch also said “It’s better to have 35% of the people really charged up about you and the rest hate you than to have 100% not care”.