Nollywood Focus

Sabar

2009-10-04T03:06:00.000-07:00

Sabar is a new film by Chike Nwoffiah that has been receiving massive promotion through viral e-mail. Written by University of Nigeria, Nsukka Dramatic Arts graduate Cash Nwachukwu, whose screenplay credits include the epic 1999 King Jaja of Opobo, and directed by Chike Nwoffiah director of such films as A Jewel in History (2003), A Killing in Choctaw (2004) and A Prayer for the Inauguration (2009).

According to information on the movie's offical website, it is about an African American hip-hop girl who resists the ancestral call of the Senegalese dance "Sabar". But when she finally gives in to the call, "she discovers more than a dance - she finds herself." Such discoveries are common whenever a child of Africa in the diaspora embraces an African artform be it song, dance, wrestling, or poetry where the expressions often transcend the physical senses and blur the lines between worlds. When Nollywood Focus actually gets a hold of this film, we shall see how the Nwachukwu/Nwoffiah partnership handles it.

An appealing but undemanding tale

2009-09-09T01:03:00.001-07:00

Review of Behind a Smile
By Obidike Okafor (Next, Nigeria)

Behind a Smile is a simmering cauldron of emotion, deceit and romantic intrigue. Fred loves Stacy, but that’s only until he meets and falls for Mara. As for Mara, her attention quickly shifts to Fred’s best friend, Majid. The characters are soon embroiled in a love triangle, or is it a square?

Successful businessman Fred (played Majid Michel) works for Pyramid Industries, thanks largely to his relationship with Stacy (Omoni Oboli)—her parents own the company.

While escaping the thieves, sent by purported friend Majid (Jim Iyke), Fred meets and is sheltered by Mara (Nadia Buari). He eventually falls in love with her and, predictably, incurs the wrath of Stacy’s parents, who take everything from him. Fred forges ahead with Mara, selflessly donating a kidney to save her life.

Ironically, he is later involved in a near-fatal car crash and is badly injured. Majid seizes the opportunity to court Mara while Fred recuperates; Stacy leaves the country, pregnant with Fred’s child.

Despite its occasional dips in quality, director Frank Rajah Arasee’s passionate melodrama remains compelling entertainment. Jim Iyke appears in his now familiar role of the “bad boy” while, as is common in Nollywood nowadays, popular Ghanaian performers are adroitly incorporated into the cast.

Read the full article here: An appealing but undemanding tale

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The Figurine raises the bar of Nigerian filmmaking

2009-09-09T01:01:00.001-07:00

The Figurine raises the bar of Nigerian filmmaking

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I Will not Work with Snakes and Dogs

2009-09-07T13:51:00.000-07:00

Interview with

Remy Ohajianya

By

NNOROM AZUONYE

Chief Dr. Remy Ohajianya’s first acting role in Nollywood was as Papa Peter in Rattlesnake in 1994. Since then he has gone on to work as an actor in such films as “Last Warning”, “Ifeonye Metalu”, “Sleeping with the Enemy”, “Gods of Liberation” and “My Kingdom Come” among others. He was a two-term Executive Chairman of the Actors Guild of Nigeria (Lagos Chapter), and a founding member of the Congress for the Advancement of Creative Arts (CASA).

Nnorom: I understand you were once a teacher. Where and what did you teach?

Remy: I was a teacher at the Federal Polytechnic Staff School in Bauchi State. I taught General Studies to primary five and six pupils.

Nnorom: A good teacher is associated with vision, discipline, patience and a sense of organisation. Could you confidently attribute these to yourself? How have these been reflected in your working life and associations?

Remy: The virtues of a good teacher as mentioned in your question are already part and parcel of me, hence it has helped me in other endeavours of my professional life, as a good organizer, a good counsellor, a good leader and so on.

Nnorom: You also had a stint as a motor spare parts dealer. Why would that have any attraction to a teacher?

Remy: There is an adage that you leave one thing for another hence the quest for want and greater fortune. There is the attraction that you can leave what is not earning you much money for that which will meet the demand of your family to a reasonable extent.

Nnorom: Kindly tell me how you made the transition from motor spare parts dealer to acting.

Remy: I was a talent untapped until the advert publication of NEK VIDEO link came up after “Living in Bondage”. I followed it up and during the audition, I was shortlisted for a role and that was it. I took up acting and left the former business.

Nnorom: In an interview on the Internet, speaking about landing roles in movies you said; “…if your luck shines better than the other people, they will give you a role.” Is it your belief that luck rather than talent, skill, and work ethic is what you need to land a film role?

Remy: It is rather not my belief that luck plays a bigger role in getting a role in a movie than talent, skill and ethics, but the same luck will not be ruled out because when you have all other good qualities what follows is luck, especially when people competing are many.

Nnorom: When a director offers you a role in his film, what are the factors you will consider before accepting it?

Remy: If a director offers me a role to play I will consider the story line, the money that will follow and the things I would not want to play with in my role.

Nnorom: What kind of role you will refuse to accept and why?

Remy: I will not play a role that has to do with snakes, dog and climbing high heights.

Nnorom: Why not?

Remy: Naturally I don’t like dogs. If I visit a home where dogs are not chained, I will not go there again. I feel the same way about snakes. I hate seeing snakes, and would not touch one dead or alive. I also have a phobia for heights although this phobia does not extend to travelling in aeroplanes.

Nnorom: It is 2009. Do you believe that the Nigerian film-viewing public is fully capable of separating the roles actors play in films from their real lives?

Remy: In Nigeria viewers will not be capable of separating the roles actors play in films from their real live because here in Nigeria the moment they see you playing a bad character they conclude that, that is your way of life. When they see you on the street they will hoot at you or they see you ride in an expensive car in a movie and probably you don’t have a car they ask you of the one in the movie and why you ‘re trekking.

Nnorom: You have been in some Igbo language films including of course “Rattlesnake” and “Ifeonye Metalu”. What is the reason people are no longer bothering to make Igbo Language films?

Remy: The reason why people are not making Igbo films is that they want to make more money. If they make it, it will be restricted to Igbo buyers alone.

Nnorom: But certainly the films could be subtitled like Edo and Yoruba film-makers constantly do.

Remy: The issue of subtitling is generally diminishes the profit margin of the producer or marketer as the case may be. All I know is that many people tried it and did not find it profitable, so they dropped the idea.

Nnorom: Do you share the belief that actors are generally better when the play roles in their indigenous languages?

Remy: I don’t believe that people do better in their language films than they do in English language films. My belief is that if you are good, you are good no doubt about that. At the same time I will like to see more films in Nollywood made in local dialects and English.

Nnorom: How do you see Nollywood performing in 2009 and beyond?

Remy: I pray things get better in Nollywood this 2009. Things are not where they need to be. There has been crisis in Nollywood, especially in making of films. The industry has died a natural death. We are only praying for restoration of the industry. Our major investors, the marketers did not invest any money in the industry last year because that of 2007 did not pay them. To me I look forward to the government initiative and proposed improvements to the distribution framework. If it can indeed make the changes that will certainly put smiles on people’s faces.

Nnorom: Nigerian films are going international more and more every day. In your opinion what must Nigerian actors contribute to their films to make them more marketable beyond African shores?

Remy: It is not ACTORS that will make their films to sell beyond Africa. It is the work of the marketer, distributors of the producers and the government as the case may be. An actor is on contract. After acting he has no business with the films except where royalty sets in.

Nnorom: I was secretly expecting you to tell me that actors must raise the bar in their performances, be more articulate, improve their image and brand values, as their names will be used in marketing the films. Don't you agree?

Remy: All over the world, nobody would like to work without getting paid. If the actors would raise the bar as brands on the contracts of the film owner, that will be fine. But where nobody bothers, here in Nigeria what is in vogue is massive ego. I have the money, I employed you to act in or direct a film for me, after that all is over. When Producers, Directors and Marketers understand that film production is team work we will grow more than we are today.

Nnorom: You have observed elsewhere that there are too many people chasing few jobs in Nollywood. What do actors in Nollywood need to know, and what qualities do they need to possess to keep the roles coming?

Remy: The law of economics comes along. Too many people chasing a few jobs spells out inflation in a country. For an actor to make it and to continue to work, he has to work harder. To improve on the things you have done before, be able to accept correction when given. The actor must now assume that he knows everything. He must be willing to take to retraining when he has the opportunity.

Nnorom: A ThisdayOnline article November 2004 by Eyitayo Aloh quotes an anonymous actor who suggests some actresses in Nollywood would sleep with a director for a role. Is this a talkdown on women or is it the practice in Nollywood?

Remy: When I was the Commander-in–Chief of Actors Guild of Nigeria, Lagos State Chapter for many years, there was never a time anybody came to me reporting that a certain director or producer wanted to sleep with her before giving her a role to play. To me, I don’t think that such things happen, but if it does may be in the secret and never made public. Eyitayo Aloh of ThisDay having not quoted the person’s name we will not believe him. It is a shameful talkdown on women. In most cases when a man fails to get the attention of a lady he will call her names.

Nnorom: Is it your opinion that the Actors Guild of Nigeria has improved the welfare of actors in Nigeria?

Remy: When I was the Chairman, Commander-in-Chief of Actors Guild of Nigeria, Lagos State and the Chairman, Conference of Actors Guild of Nigeria, I was able to give a name to the Guild, relocating them to the befitting environment of the National Theatre as office or contact point. I gave the budding ones trying to improve their standard some guidance. We organized workshops and seminars for them on how to expand to other businesses in case acting fails. We stand in between them and producers.

Nnorom: In 2006, you were at the centre of the Ejike Asiegbu impeachment drive saga. Word out there is that he is a rather good and dependable National President of the AGN. Do you stand by the action you and the other AGN State Chairmen took against Asiegbu?

Remy: I don’t want to talk about Ejike Asiegbu! I still stand by my actions in the past, whether he is dependable or not, let’s wait and see his end for those he stand for. Posterity is the best judge. We can only manage bad characters not bad reputation. We will talk about him separately on full column.

Nnorom: Would you say that the problem you had with Ejike Asiegbu is a perfect example of the disunity you have spoken about in Nollywood? What can be done to create harmony among key players in Nollywood?

Remy: You are right to say that my problem with Ejike is a perfect example of disunity we have in Nollywood. A place were one single person stood to dissolve a democratically elected government and nobody challenged him. A place where one was alleged to have embezzled money without proof and every body believed him. Before harmony, love and unity will exist among the key players, they must realize who they are, what they are, and where they are going and as well as knowing what belongs to them collectively. Up till now most of them don’t belong to any department of Nollywood as long as they make their money and go away.

Nnorom: Apart from disunity, what other problems are impeding the growth of the film industry in Nigeria?

Remy: The major problem that is impeding the growth of movie industry is finance. Let the multinationals cooperate with film-makers for better growth.

Nnorom: Tell me a little about the Congress for the Advancement of Creative Arts?

Remy: Congress for the Advancement of Creative Arts is an organisation formed to promote creative Arts, to support creativity, to explore talents and market to the creative community all over the world. The strong man behind this idea is Dr Chris Nwaokobia Jnr.

Nnorom: Have you worked in any other capacity in Nollywood apart from acting and the political side of things?

Remy: Apart from acting and administration in Nollywood I have also worked as a producer.

Nnorom: What films have you produced?

Remy: I have produced films like “Gift from the Grave”, “Bleeding Rose”, “Red Neck Cartel” and “Unimaginable”

Nnorom: In the fifteen years or so that you have been a part of the Nollywood story what have been the high points and the low points for you. If you could change anything in the period, what would it be?

Remy: My high point in Nollywood was in 2003, 2004, when there was enough work and I made money and in 2005 I had my Doctorate degree Award in communication as a public administrator from the Institute of Journalism and Management Education Enugu listed by America. My low point was when I was embarrassed out of office by Ejike Asiegbu, but that was not my end. If I am to make any change, it will be to bring back the lost glory of the Actors Guild of Nigeria.

Nnorom: If the history of Nollywood is visited in a hundred years time, how would you like to be remembered?

Remy: I thank God for enabling me to do the things I have done. I will say so far so good. It is not only in a hundred years to come that I will be remembered for the good or little contributions I have made to Nollywood and what I am yet to do. Right now people who planned evil against me during my tenure in office as Executive Chairman of the Actors Guild, Lagos, are confessing that I actually did nothing wrong. There is a clear difference between my regime and the present one. In all I would like to be remembered for the good things I have done.

Nnorom: Thank you for your time Chief Ohajianya.

Remy: Thank you very much I remain yours Chief Dr. Remy Ohajianya, the National President of Dominion Players Club of Nigeria.

©2008-2009 Nnorom Azuonye. All rights reserved.

about us

2009-09-04T02:58:00.000-07:00

Nollywood Focus (NF) - is an online magazine from the stable of Eastern Light Publishers, a division of Eastern Light EPM International.

Nollywood Focus is envisioned to spotlight milestones and people in the African film production environments but with particular emphasis on Nollywood - the Nigerian Film Industry, which is largely referred to as the third largest in the world. This magazine features interviews with key players in Nollywood, and publishes reviews of films, industry news and events, and profiles the people that make Nollywood work.

Nollywood Focus is a free-to-read magazine.

Our People

Founder and Editor
Nnorom Azuonye

Publishing Director
Thelma Mbomi

Film Reviewer
Uloma Ibegbulam

Jack of All Trades and Master of All

2009-09-02T15:29:00.000-07:00

An interview with Obi Emelonye

By NNOROM AZUONYE

Obi Emelonye is one of a new generation of Nigerian film Directors taking the magic of ‘Nollywood’ to the wider world. He originally trained as a Dramatic Artist at the University of Nigeria Nsukka, graduating in 1990. As a student, his play “Moon’s Death at Dawn” was University of Nigeria’s entry at the Nigerian Universities Theatre Arts Festival in 1989. He went on to direct several stage plays before turning to film-making with his multi-disciplinary approach, his relentless creative drive and an uncanny sense of artistic style. Obi has also marked himself out as one of UK's contemporary directors. He was at the final stages of being enrolled as a Solicitor of the Supreme Court of England and Wales when he abandoned legal practice to pursue his first love: film. However, he brings his stature as a lawyer and the attendant pragmatism to the chaotic world of film and productions. Obi's debut novel, 'The Mirror Boy' is being published. He lives in Notting Hill, London with his wife Amaka and their three children; D'Kachy, D'Richy and Da'Luchy.

Nnorom: Is it true you originally came to England hoping for premiership football glory?

Obi: Dont remind me of the pain...the disappointment of not actualising my footballing dreams. Well, it is true. I played football for Rangers International of Enugu, and Julius Berger of Lagos after I left University. The plan when I was coming to the UK was to progress my football career. But it wasn’t to be... not for want of trying. I had trials with West ham and Charlton Athletics. However, my biggest stumbling block was international clearance which was pegged by the NFA at 40,000 USD, then. So the dream died. Thank God that I am blessed with other skills. But it still intrigues me...what could have been had I had better luck with football.

Nnorom: You then went on to study law. What attracted you to the legal profession?

Obi: When football did not work, I looked for a career that will allow my family and I a certain standard of living, while I chased the recognition I needed to practice my art. Law was that profession. It increased my pedigree, made me a more strategic and analytic thinker and paid my bills.

Nnorom: But you abandoned legal practice to concentrate on film-making. What was the trigger for this refocusing so to say of your professional life?

Obi: During my study of law and the few years of practice, I had maintained an almost parallel career in film. It was during that time that I shot some of my flagship films like “Echoes of War” and “Who’s Next?” I was almost like a jack of all trades and a master of all...pardon the arrogance. That was until just before my 40th birthday when I decided to do what I love and love what I do...settling and focusing on Directing films and productions. I could say that studying law had aided my understanding of business side of things and I am much happier and contented professionally.

Nnorom: You are described as one of the “new breed of Nollywood directors taking Nollywood films to a wider audience.” How are you doing that?

Obi: If you understand the history of Nollywood, you would then begin to appreciate what miracle the Nigerian film maker, trained and untrained has performed by getting Nollywood this far. But from here, Nollywood demands more than the entrepreneurial spirit that has characterised it thus far. To be taken seriously, we need to raise the bar in terms of quality and then we have to package it for the international market without loosing that 'N' factor that makes it quintessentially Nigerian. That is what myself and some visionary practitioners in the industry are doing. So far, four of my personal films have had commercial runs in UK cinemas and we have cracked mainstream DVD distribution...baby steps yet but we have to dream big, act big and plan even bigger.

Nnorom: Can films made outside the shores of Nigeria be truly described as Nollywood films? What defines a Nollywood film for you?

Obi: Nollywood is one of those almost intangible qualities that identify a set of films made in a particular way by people with Nigerian ties. It does not even have to be a Nigerian story....so long as the main cast or crew have Nigerian citizenship. So Nollywood films can be shot anywhere, UK, America, South Africa. Some people have said that the melodramatic storylines and flambouyant acting style is a feature of Nollywood but I will beg to differ. There are Nollywood films with controlled storylines and exquisite acting...I know I have made a few of those myself.

Nnorom: You are crossing boundaries though as a black British film-maker, is that correct?

Obi: When I arrived in the UK in 1993, I had the misguided impression that there was a Black UK film industry. So I foolishly amied my film 'echoes of war' at such phantom industry. The reality is that nothing of the sort exists. I had to rethink my philosophy, realising that I can only be Nigerian despite my acquired British citizenship. And that if I do the right projects with cosmopolitan appeal, then I will be seen as a Nigerian international film-maker...that will make me happier than being labelled black British film-maker.

Nnorom: Your films have always received their World Premieres in UK Cinemas. But you don’t seem to have followed that up with an aggressive marketing of the DVDs, especially in Nigeria. Is this some kind of style or is there a problem with marketing the DVDs?

Obi: I have about 5 films that have made UK cinemas that are yet to be released on DVD in Nigeria. The reason for that is myriad. Firstly, there was an element of luck or lack of it with the timing of the films. Some have been made at certain times in the evolution of the industry when releasing them into a chaotic market would be commercial suicide and we'd had to wait. Some have suffered from the penchant of Nigeria’s viewing public for 'faces' in films. Since some of the films were shot in the UK where these faces are not resident, we have used artistes who have done a professional job without necessarily being 'faces' in the Nigerian sense. One of those films is “Echoes of War.” So I am waiting until I build my reputation to the level that it can compensate for the lack of these faces. Films have no expiry dates, when the time is right, I will unleash them on the Nigerian public and they will be shocked...pleasantly shocked.

Nnorom: You wrote, directed and edited most of the films you have made. But you have also directed films written by other people such as “The Asylum.” What part of your work offers you the most challenge?

Obi: Every aspect of film-making is a challenge...in its own way. I did not set out to be a one-man riot squad for productions. However, as a Director, you need to understand certain aspects of the production to articulate the vision of the film. When you find that there is a scarcity of trustworthy talents in certain areas, e.g. editing; you are forced to edit your own works. It means that your creative input in the production is great and you would need to be a good listener, otherwise it becomes a creative ego trip. I have mastered the art of delivering multiple roles in productions. It has helped to streamline my works and vary my experience and skill base...not to mention saving me money.

Nnorom: In these interview series with Nollywood players, I aim among other things to tell the story of Nollywood. As far as you are concerned, what was the take-off point of Nollywood?

Obi: Everybody ascribes the emergence of Nollywood to Living in Bondage in 1992. There was a vestigial colonial film Industry dominated by Yoruba films before that. But what we know as Nollywood today came from that vernacular experiment with Kenneth Okonkwo and Bob-Manuel Udokwu.

Nnorom: Name some films that, for you, have broken new grounds and set benchmarks for Nollywood films, Say what is special about them.

Obi: “Living in Bondage” for opening the floodgates. “Osuofia in London” by Kingsley Ogoro for daring to be different. “Across the Niger” by Izu Ojukwu for its technical detail and exquisite photography. “Who's Next?” which I shot in 2001 for using on-set stunts and rigging for the first time in the industry. “Letters to a Stranger” by fred Amata for the wonderful plot and acting. Jetta Amata's “Amazing Grace” for its bold strides in Celluloid and 35mm photography. Should I name more?

Nnorom: No sir! O.K, Nollywood is widely referred to as the third largest producer of feature films in terms of quantity of the films made. Is practice leading to anywhere near perfection?

Obi: Honestly, the answer now is no. This industry is only about 15 years old. It needs time. Whatever strides there have been have been insignificant but the industry is waiting for its own 'Tootsie' that will unleash it on the international market, raise interest and investment in the industry that would result in increased production values.

Nnorom: I am worried about murder by juju, or the gun as solutions to most human problems raised in Nollywood movies. I mean, never mind juju, but is it that easy for everybody from house girl to business tycoon to get hold of guns in Nigeria as depicted in the films? What is the impact of such depictions on audiences, and should Nollywood film-makers not take a position of responsibility against gun crimes?

Obi: The depiction of Nigerian life in films can not be further from the truth. In an industry with very limited creativity and technical know-how, the easiest way to raise interest in one’s film is 'over-sensationalisation'. You can achieve this through the storyline or the use of accessible but high-impact props like guns. There is a complete abdication of responsibility on the part of the Nigerian film maker about the messages of their film. The Nigerian Video and Film censors Board whose remit it is to categorise films have their work cut out because in spite of the certification on the films, even babies are made to watch them. What is needed is not to only blame the film-makers. There needs to be a re-education of Nigerians on the media smartness. It might surprise you but certain people think that Patience Ozokwor is a wicked woman and curse her on the streets because she plays wicked roles in films

Nnorom: Offer an assessment of the Nigerian film industry today and how it can contribute to substantial financial compensation for both artists and the nation whilst yielding cultural profit for the people.

Obi: The industry has stagnated at we speak. With the proliferation of TV stations showing Nigerian films, the demand for DVDs have declined and because the industry is strictly DVD-based the impact is deep and lasting. Consequently producers are reducing costs in the face of dwindling profits and quality is affected. The industry is just awaiting a great production that would restore confidence in investors...international investors particularly. Together with the streamlining and reorganisation of present international DVD networks, this will kick-start the industry again and consolidate its positions variously as Nigeria's most effective public relations tool and her biggest cultural export

Nnorom: One other thing. Why are you not into the habit of chopping your films into several parts as per Nollywood tradition?

Obi: I completely sympathize with the Nollywood film-maker and understand why they 'chop' films into parts. I have resisted the temptation to do that in my own production not because I am smart. But because I can afford to, by His grace. Other producers don’t have the luxury I have of being my own boss and the patience which comes from a passion that transcends business. It is one of the things that the censor board is combating but it will be a while yet before the fight is won.

Nnorom: You have been around Nollywood now for over a decade. What has kept you going?

Obi: Passion...commitment and Love. Especially since I don’t have the desperation of most people in the industry. I could relax into the practice of law, being a fully qualified Solicitor in the UK...but I have made a deliberate choice to practice this art and it is not a commercial consideration. I will be around for a very long time... watch this space, a few great things are coming out of my stable.

Nnorom: What is The Nollywood factory all about?

Obi: TNF is a pan African film company registered in Nigeria and the UK. We make films, TV programmes, TV adverts, Corporate event management, Music videos and media consultancy.

Nnorom: You have been whispering about a Nollywood Factory project: “Nollywood Star”. Is it now at a stage you can now talk about it?

Obi: Not yet. Discussions are at advanced stages with the biggest names in Nigerian show business and Hollywood. Next year...next year will be the year...we pray for health and life...fingers crossed.

Nnorom: In your opinion, who are the people making positive contributions to the development of Nollywood?

Obi: Any person who is working in the industry...from production assistants, script writers, directors, actors to financiers and marketers. It is an ensemble industry and every body is important.

Nnorom: What are the major things you have done to move Nollywood forward and what are your plans for the future?

Obi: The past is gone and I will let people in the know recount what meagre contributions I have made. My plans for the future remain secret...but be it known that Obi Emelonye is plotting some huge creative coups and when they succeed, I would have etched my name in bronze.

Nnorom: What is your favourite Obi Emelonye film?

Obi: I love all the films I have made, even the not so successful ones. However “Echoes of War” holds a special place in my heart. It announced me on the international stage and has opened numerous doors for me. It is the first Nigerian film to be released commercially in the UK, It is the first and only Nigerian film to be distributed mainstream on DVD through Virgin, Blockbusters, HMV etc.

Nnorom: Is there one film you have made that you wish you hadn’t?

Obi: “Picture of a General” was a film I shot just before I returned to the UK, frustrated by the workings of Nollywood in 2002. Looking back, maybe, I should have passed the chance. My spirit wasn’t there when I made the film and it sincerely speaking lacked soul.

Nnorom: Thanks Obi. It has been a pleasure talking to you.

Obi: You don tire? No more questions?

Nnorom: I don tire. Go make that great production to kick-start Nollywood. No more questions.

Note: Since the time this interview was conducted, Obi Emelonye has written and directed The Quiet Storm which stars Zack Orji and was premiered in Odeon, Surrey Quays, London UK. The Quiet Storm is due for DVD release soon. Nollywood Focus will announce it when the DVDs are released.

Nnenda Premieres September 12

2009-09-02T06:08:00.000-07:00

NOLLYWOOD A-LIST STARS STORM PH AS TONYE PRINCEWILL HOSTS THE FIRST NIGERIAN MOVIE PREMIERE (NNENDA) IN PH AND LAUNCHES AN ORPHANAGES AWARENESS CAMPAIGN

By CHIEF EZE CHUKWUEMEKA EZE

Learn more>>

Taking Nollywood to the next level

2009-08-31T02:46:00.001-07:00

Taking Nollywood to the next level

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submissions

2009-08-30T14:16:00.000-07:00

We welcome submissions of articles on any aspect of the Nigerian film industry; film reviews, interviews with key players in Nollywood, biographies of actors, actresses, directors, producers. Let us know about new releases, premieres, and other events.
Submissions by e-mail only to: nollywoodfocus@easternlightepm.com

Men Fought Beasts to Build Up Nollywood

2009-08-29T17:27:00.000-07:00

An interview with Chucks Mordi

By NNOROM AZUONYE

Chucks Mordi is one of the leading names in Nollywood, one of the trail-blazing film-makers that raised the storm with the Nigerian film in the period after “Living in Bondage” got the fire going. He has worked in various capacities from an Extra, to a screenwriter, director and producer. A founding member of the Directors Guild of Nigeria, his movie “Bleeding Rose” won the Best Film Award at the Lagos International Film Festival 2007. Mordi is the Chairman, UK Chapter of the Association of Movie Producers Nigeria.

Nnorom: You hold a degree in Fine and Applied Arts and Education. Interesting combination. What were you planning to do in life with that kind of degree?

Chucks: Quite a lot, and I am yet to explore all my avenues. However, I kicked off running a sculpture studio in Lagos for some time, while trying the waters of the emerging film industry. By 1997, it had become difficult to hide any creative talents I had, so I landed my first successful job in what we now know as Nollywood; to design and construct the cult set for the blockbuster film “Rituals”. I also created the majority of the human part props used in the film. So you can see, when Nollywood gets to where we want it to be, I will still be having great fun, because there will be a lot of professional props, and sets to be created. In that sense my degree will come in handy, at least if I don't do things directly, I will have a good idea of what I want done as a director by other professionals. - No knowledge is lost.

Nnorom: What made you choose a career in film-making? How did it all start for you?

Chucks: Well I have loved film since I was a little boy - from the days Clint Eastwood filled our screens with the gun-slinging action-packed films of the good old cowboy era. I had my first stint at performance at age six, though it was just a small Christmas carol production at Abraka, in Delta State, but it sure did kick-start a passion in me, as I later discovered in school, where I had the privilege of running jungle theatre for my fellowship arm at Delta State University. I was able to take the production to a number of shows in other schools, so I literally schooled myself along side my degrees.

Nnorom: Why did you choose to work as a Screenwriter and Director instead of a set Designer, or Special Effects Designer, or even as a designer and producer of masks and make-up? These are areas even less convincing in Nigerian movies than the acting.

Chucks: At the time I needed to acquire more practical experience in as many aspects of filmmaking as possible, and I soon discovered that the greatest challenge lies with being a director; the man who takes all the blame for anything that goes wrong, so I settled in there because I love challenges and always want to get better. However, I am still open for supervisory roles in handling props and special effects, these I did a lot with my friend Dagogo Deminas before he left for South Africa.

Nnorom: Tell me how you trained enroute to becoming a screen professional in the Nigerian film industry.

Chucks: I was not privileged to take advantage of any formal training in film production, but it did not stop me training myself privately. What do you think of a double honours degree holder? You can learn anything - maybe without the paper to show, but the practice will definitely speak for itself. I spent a lot of quality time in script writing, building on my love for Wole Soyinka's writing styles, Chinua Achebe's works, and the writings of William Shakespeare, Charles Dickens, Fredrick Forsyth just to mention a few. I literally read tons of materials including Amaka Igwe’s script lectures in some magazines back in Nigeria. You see, once you have gone through the academia, knowledge is the only thing that gives you joy, you just find yourself going on and on and on, and these things sure reflect in the way you carry yourself, and in your deliveries, on whatever platform you find yourself. For your information, I am still learning and studying hard.

Nnorom: What do you consider the role of film in society? Specifically, what role does film play in Nigeria?

Chucks: I see three major roles. The first being that it reflects the society; that is what is happening in the society or the way society is. Secondly role is that film points the way in a society; it is capable of creating awareness of what better things there could be, and finally, it could also serve as a correctional medium where good is rewarded as examples to the watching public. In all, film is a very strong informative, educative and influential tool while balancing the need to provide entertainment and relaxation. It needs to be appreciated and handled as such.

Nnorom: Name some era-defining films in Nigeria you have been honoured to work in – in any capacity. Kindly say what innovations or benchmarking features the films brought to Nollywood.

Chucks: I will just mention three: “Nneka the Pretty Serpent” I saw as the one that opened the door for the love concept in Nollywood, while “Ritual” set the pace for huge projects with more daring features. “Mama Sunday” was more of a radical picture as it went the other way by taking the brave step of using unknown faces to make great films, and it did not fail, as a number of notable Nollywood Stars today got their first or breakthrough jobs in “Mama Sunday.”

Nnorom: Guilds such as Directors Guild of Nigeria are not really much more than a trade union looking out for interests of members, are they?. Are any of the myriad of guilds in Nigeria doing anything to enhance industry knowledge, training and professional ethics in Nollywood?

Chucks: I beg to disagree, all what you see today started from the Directors Guild of Nigeria. I served as a one time Secretary-General to the guild in 1999. We went through a lot of hard work to push the frontiers of the then emerging industry to strategic positions until it became a talk of the town. Nollywood if you ask me is still evolving, but unfortunately a lot of corruption has crept into the evolution system, so it tends to diminish the good efforts and honest activities of great men who gave their time and sacrificed chances of stardom to the charting of a course for Nollywood; men like Madu C. Chikwendu, Fidelis Duker, Ejike Asiegbu, Mathias Obaghiagbon, myself and many others who time will not permit me in this interview to mention. Most of these men spent their lives in Nollywood not pursuing stardom and fame but cracking out their grey matter on how to bring to life the necessary structures that an evolving industry like ours should have in place to thrive. These fights have gone on for over a decade without anyone noticing. Men have fought beasts to get Nollywood to where it is today - but the truth remains that the good fight to build Nollywood will continue, even if some people prefer to wait for the building to be completed and then jump in to occupy, to such people I say a big shame to them - they are the criminals killing Nollywood.

Nnorom: I just watched your film; Bleeding Rose. In one of the opening screens, you indicate that the film is not for rental, why such stipulation?

Chucks: One tree cannot make a forest but it can at least represent. There are still no built up structures for proper marketing our films, otherwise, our films will not be selling for peanuts, for little or nothing. Then on top of the that, there are the occupiers of where they have not built, reaping where they have not sown; a people who will never amount to anything good in their lives, shameless faces will still go out and rip-off the investors and producers by stealing our films and selling them 3 for 50p. What do you expect when you steal something in which you have no investment interest? You can as well do whatever you like with it, and most of these idiots call themselves Nigerians. Please check again, they must have equally pirated their own identities, because it is a huge disgrace to that name Nigeria - So I had to at least make an attempt to discourage those criminals if that will put them off, well if it does not and they are caught, trust me I will make sure they face the law.

Nnorom: Actually, I once asked a proprietor of a shop renting Nigerian films for £1 per day what percentage of that amount went to the film producers and the reply I got was ‘Nothing.’ When I asked if he thought it was not wrong and inimical to the struggling filmmakers in Nollywood, he said, ‘Go call police now.’ How widespread is this monkey works baboon eats attitude in the Nollywood film rental arena within and outside Nigeria and what legal efforts are the key players in Nollywood making to curtail it?

Chucks: The producers are yet to take the bull by the horn, a producer needs to learn to transact business in a professional manner, as that takes care of all legal sides of business. AMP UK is at the moment doing something about the situation, but a lot still lies in the hands of the producers, as there needs to be established representation rights from the producers for their products to receive protection in countries like the UK where no one is above the law.

Nnorom: I recently interviewed Obi Emelonye, and he hinted on some of the marketing problems facing Nollywood, including the proliferation of free-to-view cable and satellite stations showing Nigerian films such as AIT and Nigeria Movies. Is this to suggest the film-makers are not compensated in any way by these TV stations for showing their films?

Chucks: I would not want to say much about the TV stations, because it is a simple matter: if a TV station shows “Bleeding Rose” without a written agreement on terms and conditions, duly signed by the appropriate authorities, it will be for the law courts to decide. You do not need to speak to a professional producer on his rights, he should research and know his or her rights, let them challenge the TV stations, but they will not of course, because there may have been some unprofessional transaction somewhere along the line, which they may be ashamed of telling. The TV stations will quite frankly be very happy to show any film for free if you give them one. So let the producers check themselves.

Nnorom: When I spoke to you last weekend, you said you were done making ‘Nollywood’ films. You said that your next film will be a ‘proper’ film. Would you kindly explain to me what you mean by that?

Chucks: Quite simple. I was talking about not having to stress myself to fund another movie, let the fund come from somewhere else, then I will do another movie, good movies cost money, and I can not raise the kind of budget I am looking at for my next movie.

Nnorom: In your opinion, has Nollywood grown too fast for its own good?

Chucks: Not at all, I would rather say it need more boost and need to grow quicker.

Nnorom: If you were given the job to straighten out Nollywood and make it stand shoulder to shoulder beside other film industries the world, what would be your top initiatives?

Chucks: The job is simple just put the right structures in place and things will be alright. There is no need to start mentioning the structures, as this will be taken care off when the job comes, the best way to do this to challenge me by giving me the job with a right pay, as you know money na hand back na ground! I am open for consultation, and ready to continue serving the industry but I think I now deserve a reward.

Nnorom: So much has been made about the need to invest in Nollywood. But don’t you think that first an investor has to be convinced there is a veritable marketing channel within the industry first, so that his money does not go down the drain?

Chucks: You are right, but that job is not the producers job, it is that of the marketers and distributors under the supervision of the authorities under which they operate, and I believe Emeka Mba of the National Film and Video Censors Board is doing a good job of putting the right structures in place.

Nnorom: We need our own E.T., Rambo, Rocky, Batman, Spiderman, etc. Nobody is going to invest a million dollars in a story about a girl who goes to a babalawo to get a charm to steal her best friend’s boyfriend or other lame tales like that. Do you agree with me that we need to make character-led movies in Nollywood, films with capacities to change lives and with stories that lend themselves to merchandising opportunities?

Chucks: Absolutely, again the investors not the producers need to believe in what you are saying and put their money to it. If an investor wants a Nigerian Rambo film, then he should cough out the money, and stop expecting to spend £10,000:00 for a movie, which does not pay a PA in UK, so how do we really compare?

Nnorom: I would have thought it worked the other way round; you package a good film production proposal and it will attract investors with deep pockets. Anyway, just before I let you go, kindly offer a very short message to a young aspiring Nollywood filmmaker.

Chucks: Always have on a learning attitude, be focused on being a credible character, and pursue excellence, then great things will follow.

Nnorom: Thanks a lot for your time Chucks, and good luck with your future endeavours.

Chucks: Thank you and God bless Nollywood.

News and Events

2009-08-29T15:45:00.000-07:00

NOLLYWOOD A-LIST STARS STORM PH AS TONYE PRINCEWILL HOSTS THE FIRST NIGERIAN MOVIE PREMIERE (NNENDA) IN PH AND LAUNCHES AN ORPHANAGES AWARENESS CAMPAIGN

By Chief Eze Chukwuemeka Eze

Come September 12th, 2009 at 2.00pm, the Silver Bird Cinemas in Port Harcourt will play host to some top Nollywood stars at the screening of the Adonijah Owiriwa produced movie “Nnenda”. The force behind this Event Prince Tonye Princewill, the Rivers State AC and FOOPP Leader will be in attendance at the Premiere aimed at creating awareness of the plight of orphans in Rivers State.

Leading the pack of Nollywood stars at this epoch making event are top billed stars of the movie like screen queen Stephanie Okereke -who plays the lead character for whom the film is named-, Ramsey Noah Nigeria's leading man and lead male role in the movie, foremost Nollywood Director and Director for the movie Izu Ojukwu who has to his credit various award winning films including highly acclaimed “Sitanda”, “Across the Niger” and “White Waters”.

Also in attendance will be Van Vicker from Ghana, Lady Memry Savanhu from Zimbabwe, Uti Nwachukwu of the Big Brother Africa fame and leading Nigerian actor Francis Duru.

Full Story>>

reviews

2009-08-29T15:18:00.000-07:00

Nollywood Film Reviews

"Behind a Smile" by Obidike Okafor

"Dangerous Friends" by Uloma Ibegbulam

Interviews

2009-08-29T13:42:00.000-07:00

Interview with:

Remy Ohajianya

Obi Emelonye

Chucks Mordi

Don Pedro Obaseki

Don Pedro Obaseki in conversation with Nnorom Azuonye

2009-08-29T04:16:00.000-07:00

What we do is mere commerce, not business

Nollywood Director, DON PEDRO OBASEKI interviewed by NNOROM AZUONYE

Nnorom: You are one of the key players in Nollywood trained as a theatre artist. How does this training affect your film-making processes?

Don Pedro: The truth of the matter is that I always believe that as a trained artist, there is the know-how; the technical know-how and the know-what. The know-how is that which cannot be taught. What I think is that my experience and tutelage as a theatre artist has done is that it has given structure to the way I think as an artist. Being used to ensemble play where if one person goes out of tandem the whole structure of the production crumbles. As a director, I am a disciplinarian. I have no room for posers. If you want to pose, you go somewhere else. I am not interested in the star, I am interested in the artist. I am interested in the person who will do the job. I don’t think people should want to buy my film just because of the multiplex of names I put in the film, but because I append my name to it. Also, I have come to a point where I don’t see film-making as an assembly line. I don’t do subsistence film-making which a lot of them in Nollywood do. If I am privileged, I shoot a film a year, maybe a film in two years. For instance I wrote “Igodo” in 1996, but did not get to shoot it until 1998, and it was clearly not run of the mill, or to use the lingo ‘kpa kpa kpa’ films you see out there.

Nnorom: What do you consider to be the purpose of film?

Don Pedro: As someone now very much in the business of film from the age of 10, it is a different ball game. I see film as business. There is a difference between Don Pedro the impresario and Don Pedro Obaseki the person. Don Pedro Obaseki the person sees film as an opinion moulder, a huge opinionator, an integral part of the society that gives birth to it. I see film not art as a mirror of the society. Art as a mirror of the society is useless. I’d rather watch CNN or Sky.

Nnorom: Of course as a 10-year-old kid you presented “Children’s Time” for NTA Benin in 1977. What else, together with that experience led you to study theatre arts?

Don Pedro: You know, sometime in 1979-1980, there was this essay competition for kids in Secondary School. I wrote a story; “Days of Rage” which won the National Essay Competition. It was later picked up by Evans, Macmillan and Longman, and they took me to Togo where I met Kalu Okpi. And by the time I was 14, I became the youngest published Pacesetter writer with “Days of Rage” which was later turned into a TV series. By the time “Tales by Moonlight” started, I became a little story-teller will Mrs Elizabeth Okaro. Later on, when “Things Fall Apart” was being shot, I became the smallest and youngest member of the crew. I actually fell from the helicopter when they were shooting Amalinze the Cat climbing a palm tree. So, I knew where I was going.

Nnorom: I had lunch with friend in London, and mentioned to him that I was hoping to meet you later that day to interview you. He spoke about you as ‘that guy once obsessed with demolishing people’s homes to build his big cinema houses’ That’s not true is it?

Don Pedro: People are crazy! Crazy! (Long pause) Without the cinemas, the truth of the matter; the entire thing is a joke. So what I thought was try and revive cinema culture, not the way Silverbird and New Metro are doing, because what they are doing, I think, is what led to the death of the old Nigerian film industry of the Hubert Ogundes and the Ola Baloguns. What they do is screen Hollywood blockbusters without a look-in on the local scene. Yet everybody in Ajegunle, Idi Araba, Idi Oroko, Ariaria in Aba, they are hooked on the Nigerian Home Video. I thought, why don’t I get these videos to their neighbourhoods, create the same uppity feeling you get when you walk into a multiplex like the Odeon – create a community centre of attraction in the neighbourhood, and people use the cinema as a way peace. Let me give you an example. There were areas in Ikeja in those days if you walked at 10pm somebody will pull a gun on you. But when Lagbaja started his Open Air Motherland people packed the streets and nobody till date has ever reported that armed robbers came to motherland, and it has been six to seven years now.

So I said where there is entertainment, there is no room for that kind of violence. I did not demolish people’s homes what I did was get people to buy some of the old cinema structures which had been converted into churches or eateries, or some that were run-down. When we couldn’t get certain places in Surulere, it was in Surulere that we tried to buy other types of structures.

We don’t have government support. Everything was via people buying equity in Filmex. It is called Filmex. We were able to get Odeon, when Kene Mkparu was still there, as Technical Partners, before we moved to Israel. So the technical partnership is coming from a firm in Israel. We are still not launched yet. We are hoping to launch in middle of 2009. Filmex is a model we hope to work, so if we can’t make money on the film, we will from the popcorn.

That question was a blow!

Nnorom: You are a campaigner for better earnings for workers in Nollywood, apparently you see a correlation between that and better outputs. What are the factors in your opinion limiting incomes in the Nigerian film industry?

Don Pedro: I am not one of those who believe piracy is the first problem. Piracy is one of the things that happen when you don’t have structures in place. It is a global problem. But there are certain very very very Nigerian problems affecting Nollywood. First a few of my colleagues under-rated our brothers from the South East. That was the end of the old Nollywood that seemed to have high earnings. We used to release films that sold 300,000 copies or more. “Igodo” sold close to a million. By that time, those of us involved in “Igodo”, we go buy car for morning, by afternoon we dey ask, ‘this car fine so, or make I change am’? The money was available. You can’t afford to do that anymore. We were releasing five to ten films per month and because they were successful, people turned the thing from art into an assembly line. Simple economics. When a product is supply-driven, the only place it can go is down. But if it is demand-driven, you can up the price. So in Nigeria where everything has gone up in price except pure water, the only commodity the price has gone down a downward spiral is the Home Video product. The wholesale price of a film used to be 350 Naira. But now, it is about 80 Naira, that is 75 cents.

The only way to control this is to create an enabling environment for people to invest, and I cannot invest in a situation where na everybody dey. Although we have guilds that are very functional, they are not looking at the market end.

Let me ask you a question. Can you imagine what will happen if we released just 5 films a month and those people at Dusting Road Market have to queue for two weeks to get one copy. What do you think they will do? What do you think will happen if we asked for prepayment? You see, we must reduce the number of people who have access to their films being censored.

Nnorom: In Hollywood and the British Film Industry, movies premiere and run in cinemas before appearing on DVD. Although this does not prevent piracy, it does however mean that if the film is not a turkey, it can generate huge box office returns and loads of cash from film merchandise. Do you envisage Nollywood going in that direction?

Don Pedro: It is the only direction. It is the ability to aggregate these global value chains, as we cannot do anything in isolation, that’s when we will see the tomorrow. However it has to be tweaked to suit our peculiar economic circumstances. I do not believe that the movie necessarily has to move from the can to the cinema to pay-tv to DVD. Those structures do not exist in Nigeria. We are a product of direct to home video which we turned into a global phenomenon. We are a product of the digital age. We Nigerians taught the world that digital film-making can actually be mainstream.

Nnorom: The figure for a ‘successful’ Nollywood film of 50,000 copies or thereabouts is not particularly near enough what it should be.

Don Pedro: Fifty Thousand? I cannot say that. What I can tell you is that most people suggest these figures, I don’t. I own a shop in Alaba so I know. A normal film now in the last one and half years, if it hits 20,000, I tell you the guy who made the film will go and meet arusi. I am serious. So you really have to plan for it to hit fifty.

Nnorom: How does your Video Kiosk improve the distribution of Nigerian films?

Don Pedro: I got sixty million Naira from Diamond Bank and launched Video Kiosk which is a door-to-door video rental service whereby you can place orders for videos and we deliver to your doorstep. I got tricycles equipped with DVD Players, Television sets and huge loudspeakers mounted on them, so they are also mobile advertising tools. I spread it all over Lagos and took 2 or 3 to Abuja. So there is no need for that big madam who hides in the sanctuary of her home to watch our films to go to a video club. I am your video club, don’t come to me, I come to you. It has been hugely successful.

Before I release a film on my network, I send text messages and tell people, if you dial the video kiosk number you can pre-book. You can pay me with your credit or debit card. So we have created a new vista for this funny-looking, simple, for poor people business, because if I can see the end of an equation, it is easier for me to aggregate the processes to get to that equation.

But beyond the Video Kiosk, I have tried to move film distribution along in my own way. I tried for some time. I got the Igbo boys together. But I could not settle the Idumota, Upper Iweka, Pound Road, so I broke away and built a film market in Surulere that caused them pulling out guns and all that. But the Igbo guy will trust me because he does not trust the Yorubas. Zeb Ejiro will want me to be leader because he knows I can deal with the Igbos. You know my mum is Igbo. My wife is Igbo. I speak Warri, and Urhobo. So I became a confluence of sorts and decided to use that as platform for either cementing the industry or scattering it and then rebuild it. You know I am a student of Soyinka, so the Ogunian essence always pervades. Things happen for things to be built properly. Many people are going to be whisked away as you know right now, many filmmakers in Nigeria are going critically broke. But the few who have been able to work out the arithmetic of the distribution process, they are not going broke. Rather they are living large. Forget the artist. Artist will come and artist will go depending on how the man in the open market feels.

Nnorom: Is it just your own films that Video Kiosk distributes?

Don Pedro: No no no. You know, what God has done now, because of the advent of Movistar, I am now, maybe the largest single owner of entertainment content in Nigeria. So what we have done is, four companies I have interest in, we formed a consortium; The African Entertainment Content Company, we sell everything from Video CDs from anybody, to music CDs because I own a music label. I won a lot of Igbo gospel. A lot. People like Nkem Chijioke. You know that gospel is a lot more enduring in terms of market value. An Igbo man travelling from Onitsha to Lagos is not going to be playing ‘P Square’ in his car stereo. I don’t see myself as mainstream. Video Kiosk cannot be mainstream. We serve as an alternative marketing outlet. We achieve high retail volumes because with 50 Video Kiosks selling a hundred films a week, we sell five thousand.

The next step we have taken. The government has a drive against piracy. They are arresting those boys selling videos on the street. The boy you are arresting, he is going to be a thief again. So I put out an advert “You dey sell video for street, call this number” and they call me. I register them with Censors Board for five thousand naira. The guy does not have five thousand Naira. So I thought, if I register one hundred boys, it will cost me Five Hundred Thousand Naira. But to take a shop at Adeniran Ogunsanya, it is going to cost me Nine Hundred Thousand – for one shop. With that kind of money, I can have 180 boys wearing Video Kiosk T-shirts selling my products. By God’s grace, by the first week or second week of January 2009, I will unleash them on Lagos. I have a motto: Every door on every floor, a face in every place.

Nnorom: What is the relationship between Don Pedro Media and Movistar?

Don Pedro: Don Pedro Media in the real sense does not have any relationship with Movistar. Don Pedro Media is contracted by DP and T Media Company Nigeria Ltd, of which me Don Pedro, na me be the DP wey dey inside. Five years ago we took the idea to Chief Dokpesi and everybody thought I was a mad man. But when Daar Communications decided to go PLC, he put aside some money for some of my pet projects, of which Movistar was one. Movistar is an independent channel owned over seventy percent by Chief Dokpesi as a person not as Daar Communications. AIT owns the satellite segment on Sky, DP and T and Don Pedro Media own what you see on air and the Movistar broadcast license. So what you actually have is, AIT Movistar does not exist. AIT Movistar only exists as a name Sky created on their decoder. Movistar Ltd is equity owned by Daar Communications, DP&T, and Chief Raymond Dokpesi with me as Chief Executive Officer.

Nnorom: Offer an assessment of the Nigerian film industry today and how it can contribute to substantial financial compensation for both artists and the nation whilst yielding cultural profit for the people.

Don Pedro: I think right now, the culture quotient is a lot higher. The Nigerian home video scene has turned into a mild culture colonialist tool for the Nigerian nation. Because they have colonised the African mindset. You see the Igbo sub-culture within the national culture has been sacrificed by the Igbo filmmaker such that in the last seven years, only three Igbo language films have been shot, against 950 Yoruba films, because the Igbo filmmaker and the Igbo actor has now become the generic face of Nollywood. I think that film as a culture exporter, a culture carrier has succeeded in serving as a major attention getter for the Nigerian nation. I cannot forget the Washington Post headline; “Step aside Hollywood, Bollywood Here comes Nollywood” but in terms of economics, all the economic benefits that have been coming to the Nigerian filmmaker and the Nigerian filmscape has been limited to a very tiny few.

Nnorom: In your opinion, who are the people making positive contributions to the development of Nollywood?

Don Pedro: She might not know it, but I think Peace Anyiam-Osigwe, the Chief Executive of AMAA – the African Movie Academy Awards, is doing a great deal. Without the weight of politics, and she is involved in it directly or indirectly, Amaka Igwe. In terms of structure, not the art of film, Chief Raymond Dokpesi who is building a huge film village right now. Also Toyin Subai, Emeka Mba who has been demonised and called names. I think he is doing a fantastic job. He may not be the Apostle Paul, but I think he can be John the Baptist. Also there is this woman in Akure, Biodun Ibitola of Remdel Productions. She maybe owns the largest network for Yoruba films. Then this guy of O.J Productions; Ojiofor Ezeanyaeche. That man, if you are working on his film and he says he will pay you two Naira, if he dies, your two Naira will be there for you. Then of course Kingsley Ogoro and Tade Ogidan.

Nnorom: What is your favourite Don Pedro Obaseki film?

Don Pedro: Eziza. Without a doubt. Eziza.

Nnorom: Is there one film you have made that you wish you hadn’t made?

Don Pedro: Yes. Definitely “Love”. Have you seen it? I no know wetin enter my head. The film made a lot of noise for the wrong reasons. That’s not what film-making is about.

Nnorom: Is there one movie in the world today that you did not, but wish that you had made?

Don Pedro: Pink Panther. Inspector Clouseau. My father got it in the old Betamax format. I watched it so much the tape cut, I carry cellotape join am.

Nnorom: Finally, Don, kindly summarise your take on Nollywood: what is wrong, what is good, what needs to change, and how that change can happen.

Don Pedro: What is wrong is very clear. First the structures are either decadent or non-existent. Structures in terms of the art of film and structures in terms of the business of film. I believe that if we can get the business of film right with enough returns on investment, the average Nigerian film will be a better product and everybody involved will get adequate remuneration. But as long as it continues to be a garbage in garbage out kpa kpa kpa phenomenon, it won’t work.

Another thing I think is crucial is that there are little or no training facilities put in place that enables them, filmmakers, to progress in terms of know-how, and skills acquisition. Because it is terrible when you think you know, and then you don’t want to learn more. Many filmmakers in Nigeria are intellectually lazy. I mean, for instance you are making a film about the Nigerian Army and you don’t realise that in the Nigerian Army, except for medical reasons, you don’t wear a beard. Even the police. You see Pete Edochie and he has not shaved and he is playing a Policeman. I cannot see the policeman in him.

Also we want to go international and we have not got the paradigms right. There has to be a seismic paradigm shift in the way we do the film for it to be international. For instance our themes must leave the mundane. Our themes continue to be regional, but they need to be as universal as possible. But if you look at up to 90 percent of the basic Nigerian film, they are strictly Nigerian and perhaps to a lesser extent, African. But you see, the basic sensibility of the modern day African is closer to the basic sensibility of the Caucasian than it is to the rural African, to the extent that we now demonise things that were normal and everyday to our fathers.

Finally, unless we create structures, right processes, it won’t work. Until that happens, we won’t get the respect of financial institutions. We need that for the business to become business. As it is we are making out of pocket expenses. We are trading. That is mere commerce, but business. We are selling, not marketing. The average Nigerian filmmaker is so popular, yet he has no branding. He has no brand equity and no brand value. It is only when we translate our popularity into brand equities that what we are doing will go from a multimillion Naira business to a Multimillion Dollar business. We need to think in that currency to aggregate our real value.

Nnorom: Thank you for your time, Don.

Don Pedro: Thank you Nnorom. I have to confess. I am having fun.

Lagos International Film Festival opens amidst drama

2009-08-17T18:06:00.001-07:00

Lagos International Film Festival opens amidst drama

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Pete Edochie Freed

2009-08-17T17:27:00.000-07:00

Actor Pete Edochie has now been re-united with his family after being released by the kidnappers. Edochie's son, Uche has confirmed.

Uche Edochie, a studio artist in Lagos posted the good news on his Facebook wall; "My father has been released by his kidnappers after the ransom exchange. I am so relieved that I can sleep for a week. Thank you God and thank you to all our supportive friends, family and well wishers all over the world."

He did not state whether the family came up with the full N10 million Naira the kidnappers wanted in such a short time.

Edochie fans across the world are relieved with the news, and everyone's prayers are with his family who must have passed through a most traumatic 24 hours.

At the same time, many watchers of the kidnapping industry in Nigeria, obviously a growth market, must be thinking today how such success stories for kidnappers in getting quick responses and ransom payments will do nothing to dissuade them from future abductions of innocent hardworking people. It is even more irritating that the Enugu police have insinuated that he had not actually been kidnapped, but was a victim of a carjerking episode who was taken along as hostage and getaway leverage. Even that sounds like kidnapping on its own. But more importantly, the ransom demand and eventual exchange makes the police position unacceptable.

Kidnapping has truly become a disease in Nigeria that needs a cure quickly. The viral joke in Nigeria that kidnapping has now become a status badge - an indication of success, is a joke that has now gone too far.

Dangerous Friends

2008-11-08T00:49:00.000-08:00

Nollywood Focus Review

Film Title: Dangerous Friends

Starring: Mike Ezuronye, Onyeka Onwenu, Steph Nora Falana, Ernest Obi,Yemi Blaq

Director: Ernest Obi

Screenplay: Steph Nora Falana

Studio: Hallmark Studios

Genre: Drama

Time: 2hrs 32min.

Reviewer: Uloma Ibegbulam

Dangerous Friends is a film about friendship, betrayal and Love in which two friends; Steve (Yemi Blaq), and Martin (Mike Ezuronye) are thrown into enmity over the affections of Annette (Steph Nora falana). What began as a simple bet between friends on which one of them could win Annette’s love degenerates into a feud that lasts throughout and beyond their days at university. Steve ends up marrying the well-off Annette, and gets his teeth into her money - enriching himself in the process. Martin however, is not so lucky and has had it rough since graduation from university until fate brings him together again with Steve, who has eschewed their bitter past. Steve lends a helping hand to Martin, offering him the job he so badly needs. But unknown to Steve, Martin has not buried the hatchet. Steve is soon on the receiving end of a bitter revenge campaign from Martin who recruits Steve’s ex-girlfriend Esther, and a few other dubious characters, all in the bid to destroy his friend. This leads to the major conflict that plays out in the film.

Cutting deeper into the real substance of the film, Dangerous Friends attempts to show how simple but complicated the average human mind can be when it is tested; How we all perceive things and ultimately how we react to them.

Love was sweetly exhibited for a while, by Annette and Steve, but was not forgiving. Consequently, the revelations made by Martin at the end of the film, was too painful for Annette to bear.

The story is interesting, captivating and has a decent dose of suspense. And although the film raises many conflicts, some of which are not fully resolved, it is able to engage my interest through to the end. The characters in the film are under-developed and are simply not challenging. It always takes a good deal of acting skills and experience to carry or interpret ordinarily boring characters into engaging and captivating ones. This is the task the actors and actresses in Dangerous Friends face.

Thumbs up to Ufuoma Ejenobone (Esther), for an excellent interpretation and execution of her role. She is spontaneous with her emotions, and is convincing in her role. She also has the looks that suit the part.

Mike Ezuronye (Martin) also does credit to his role. He is known to use his facial expressions very well, and Martin’s “viciousness”, come across perfectly.

The costume requirements are not particularly challenging, but are sensibly executed.

As for the make up, it is important to note that the two lead male actors are not properly prepared; it was a recurrent sight to see them sweating in scenes that they were supposed to appear as cool as cucumbers .We also see Annette all made up in her night dress, ready to go to bed; this does not portray the real world.

The director (Ernest Obi) is able to convey the story as simply as possible. He sustains the suspense with the timely infusion of the flash back at the end of the film.

However, a good film transforms into a very good film when the director explores and effectively employs all his artistic devices; the film must be visually pleasing and engaging; and this is most often achieved through the creative use of the camera, setting and scenery, engaging dialogue and excellent sound. We do not see all these elements fully employed in the film. The camera shots are too flat and a bit clumsy at times. However , I applaud the director for keeping it real by choosing realistic locations as home and office scenes; contrary to the extra-large and over furnished locations Nollywood is known for.

Further, for a film with two parts, I do not believe the director achieves the desired closure; viewers are left wondering what becomes of Annette and Steve’s “love”. Or maybe there is a part three?

On the positive side, the dialogue is simple and suits the mood of the film; and would not task your concentration. Dangerous Friends is well worth the time.

Nollywood Focus Rating: *** Good.

The trouble with Nollywood

2008-11-06T16:00:00.001-08:00

The Nigerian film industry is far from where it needs to be. There is enormous talent and spirit in Nollywood to raise the industry to a level that will truly astonish the world. Yet, even as the films have moved from old analogue systems to HD, and the distribution of films have moved beyond Idumota, Pound Road and Upper Iweka, we have also witnessed premieres in European and American cinemas, and our films are constantly aired on Western cable and satelite channels. Video shops also rent these films without a great deal of control. Everyone of us knows something or feels something that ought to be done to not only improve Nollywood films but help the industry grow. In this thread, Nollywood Focus invites opinions on the trouble with Nollywood - i.e. What do you think is the main problem facing Nollywood and how can it be addressed? NF

Nollywood Focus Congratulates Mr Obama

2008-11-05T18:18:00.000-08:00

Nollywood Focus magazine joins the world in congratulating Mr Barack Obama on his election as the 44th president of the United States of America. Like so many people have said, what Mr Obama has achieved is a testament that everything is possible. His slogan Yes We Can will continue to pound in the hearts of many people for years to come and should indeed inspire them to say in the face of every challenge "Yes we can".

It is a great story. An almost unbelievable story. Forty years ago, if a writer of fiction had written a short story locating a black man in the White House come January 2009, the writer most certainly would have been dismissed as incompetent. His story would need to be returned to his muse for a complete reimagination. Yet it has happened and many people only half-believe and are still expecting to wake of from some kind of dream.

But it is not a dream. Long live Barack Obama. May God keep him shielded everyday of his life from the dangers of his office and may God give him the wisdom to lead the American people to a place of peace and happiness and prosperity. At Nollywood Focus, we pray that the Obama presidency shall take the tears of many Americans such as good old Rev Jesse Jackson and wash away all the bigotries and shame that the days of evil and segregation stained America with. This is a new beginning, not just for America, but for the whole world.

The world can get better. Yes it can.

Nnorom Azuonye

Welcome to Nollywood Focus blog

2008-10-11T16:42:00.000-07:00

You are welcome to the Nollywood Focus blog. We expect to hold some exciting conversations and debates here that will help to grow the Nigerian film. Subscribe to the blog and be part of everything we do.

Nnorom Azuonye