The Nation Newspaper

Category: Victor Akande

  • REACTIONS TRAIL SCRAPPING OF N3B KANNYWOOD FILM VILLAGE

    FOLLOWING the Federal Government’s plans to cancel the proposed Muhammadu Buhari Film Village in Kano State, due to opposition from Muslim clerics, stakeholders have continued to react to what they consider another retrogressive extremist idea.

    More than N3bn had been budgeted to provide state-of-the-art facilities for the Hausa language film industry, known as Kannywood, a project which government said would create thousands of job opportunities and promote cultural activities.

    However, while Muslims clerics have condemned the project, saying it would promote immorality; other locals who are also opposed to the project maintained that the fund should be spent to revive dams for agricultural development.

    Announcing the cancellation of the project recently, Senior Special Assistant to the President on National Assembly Matters, Abdulrahman Kawu Sumaila, declared that government has no choice but to heed the people’s wish.

    One of the major critics of the film village is Sheik Abdallah Usman Gadan Kanya, a PhD holder from the Bayero University Kano.

    Lambasting critics of the project, a writer, Ali Abubakar Sadiq, described their moves as backward, lackadaisical and an extremist idea similar to that of the Boko Haram sect.

    “For how long shall we accept being the last to see? (Western education and banking system are two examples).” He queried. “I can confidently say any instruments, ancient or modern, are neither good nor bad in themselves but appear to be, depending on who uses them and how. TV, radio, print, internet and our mobile devices can be used for the good or for the bad. In fact, Allah declares that He created man “And showed him the two ways” (Q90:10). Everything in life can be used for good or evil, it is left for you to choose wisely.

    “A kind of film village already exists on Zoo Road, in the heart of Kano city, the centre of Kannywood, where films are produced, consumed and exported elsewhere. Shouldn’t this be an opportunity for the moralists to seize? The film village in Kofa would give them an easier way to offer meaningful contributions in sanitizing the industry! Or are they deluded enough to think that the Hausa film industry could be wiped away by mere wishful thinking and limited moral rhetoric?” he reasoned.

    According to Sadiq, Kannywood has come to stay and experts even predicted that in the next few years it will become the biggest investment in Kano city.

    He argued that most of the antagonists of the film village don’t even know what a film village is all about. “It is simply a concentrated area of buildings comprising prototypes, say, Gidan Makama, Emir’s Palace, police stations, courtrooms, stadiums, restaurants, etc., that could be assembled and dissembled on demand, besides other permanent structures for administration, studios and other multinational companies that could invest in the place. It will be a tourism centre too, generating the much needed foreign cash flow,” he explained.

    Sadiq said instead of condemning the film village outright, it would be better to start thinking of how to maximize its positive benefits and mitigate against its potential harm? “Wouldn’t it be better to collectively be a part of it and have a say in defending our collective values as a group within pragmatic and realistic terms? Isn’t it high time to examine our emotions, purify our intentions and separate what we do for God and for society? Is our morality only tuned towards anything that has connotations of gender interaction to excite it?”

    A promoter of the project and embattled member of the House of Representatives, Abdulmumin Jibrin, had said at a recent interactive session with Kannywood stakeholders that the proposed 20-hectare centre would be equipped with state-of-the-art facilities and equipment for film making.

    “The film village has cinematography centre, 400-capacity auditorium for training, hostel, sound stage, eatery block, three-star hotel, shopping mall, stadium, clinic, among others,” he said.

    It was gathered that the film village was initiated by Hon Jibrin as his constituency project

    Notable Kannywood actor, Ali Nuhu, told the BBC that he was confused by the decision to scrap the project.

    The film industry in the North has often been criticized by religious and community leaders, alleging that it encourages teenage girls to run away from home in the hope of becoming actresses.

    Meanwhile, some film industry stakeholders of Southern extraction who are opposed to the citing of the film village in the North said the idea has backfired on the government which tried to play the ethnic card.

    Some are of the view that Kannywood should advocate that the film village moves to another conducive state in the region where there would be less religious inhibitions.

    Others wondered why the project was moved from its original location in Jos, Plateau State where choice acres of land was already appropriated.

  • DADU, HOW DID IT GET THIS BAD?

    A Yoruba proverb says “When they call a man thief in the neighbourhood, and you catch him playing with your lamb behind your fence, you need not be told that action and intention are blood brothers.”

    Danjuma Warim Dadu (2013 – as MD of NFC) – three years is enough to make ‘your ways straight’, but it seems that, like a proverbial dog who would not yield the hunter’s whistle, you keep plunging deep and deeper into the ocean of controversy and going from the underrated to an obviously inept personality. Really, how did it get this bad?

    I warned you sir; not once, not twice, but you threw caution to the wind. The last three years could have been an opportunity to ‘shame’ doubting Thomases and prove that although you are a Marine Engineer by training, passing through the university as a student, let alone teaching there is more than enough to impact the film sector, if only through a communal sense of responsibility.

    I supported you from the start, Mr Dadu. Now, I am ashamed to call you my kind of person who thrives on grace. Yes, your appointment came across like one by the grace of God, but has just been rubbed in the mud. It has never happened in the history of the Nigerian Film Corporation (NFC) and Nigerian Film Institute (NFI) that staff and students would jointly protest against the leadership of the apex film organisation. Really, how did we get here?

    I read protest words like; “Dadu has killed NFC”; Dadu is a brick layer, not a filmmaker”;  “Dadu must go!’; “Seven years, no promotion”; “Where is Ministry of Information” and so on… This took place on Tuesday and Wednesday, as placard-carrying staff and students occupied the premises of both organisations; then, on Wednesday evening, you quickly prepared ground for the promotional exam. Why must it get to this stage in the first place?

    In another long petition titled Film Institute to Dead Institute: Woes of the National Film Institute, Jos, the student body took your leadership to the cleaners, revealing dirty secrets indeed… How do you see yourself in the picture painted of your leadership below, by your students?

    “Over the period the new leadership has been at the helm of affairs, the corporation has become a battleground of voodoos and witchcraft, a theatre of greed, deception, and ‘dog-chop-dog’ motivated by the divide and rule policy of the leadership.”

    “… A film institute that produced the likes of Yinka Edward (Oct 1st, Shuga, Figurine), Achor Yusuf (Desperate Housewives Africa), Leo Nformi (Head Director, Ebonylife TV), Afred Chia (D.P/Director, Ebonylife TV), Kenneth Gyang (Confusion Na Wah), Ali Mustapha (Aljazeera), Adaobi Obiegbosi (African Students International Film Festival), Aaron Ugede (Mnet), Mike-Steve Adeleye, Chinedum Iregbu, Lot Pindem, Ifeanyi Iloduba, Julius Morno, Jide Bello, Akasa Stephen Angba, and many others too numerous to mention may not be turning in anything substantial to the film industry in the next 5-10 years if the downward turn is not nipped in the bud.”

    “Elements who are not fit for the classroom, and who have no prior experience in filmmaking or anything related to it, now hold sway as proud resource persons. From scripting lecturers who have never written a script, to directors who have never directed anything, and editors whose only experience is with the analogue system of editing, it may not be long before cleaners, gardeners, and security men find their way into the classrooms.”

    “The drum of death has never stopped sounding within the institute, and never has it been this dire. July 25th, 2015, two pretty ladies and bright talents, Brenda Adebayo (23) and Joy Latisha Ezennia (23) choked to death in the Jos Chlorine Gas Leakage at the Plateau State Water Treatment Plant at British American Junction in Jos. These ladies had rented an apartment behind the plant because the MD scrapped the hostel arrangement that had been the structure of the institute right from inception.”

    “Looking another way, it is also noteworthy and of interest that shortly after the current NFC leadership made the pronouncement of the access of TETFund’s 300 Million Naira as part of a 600 Million (Naira) grant facilitated by the University of Jos for the institute, and the purchase of 100 Apple Imac systems, the institute was burgled. Claims of what was lost have been highly exaggerated to provide a shield to other non-transparent transactions.”

    ‘NFC leadership is still defaulting in the regularization of affiliation formalities and payments to the University of Jos, to whom we are affiliated, and whose resources persons handle key GST and other non-film courses. Therefore, results of the graduating students of 2015 are still currently being held up, thus, delaying them and impeding their progression for NYSC, while their contemporaries at the UJ, who were months behind due to strike action, have been cleared and standing by for mobilization.”

    “All these are despite the coercion of students to pay school fees directly to the school authorities and not in banks as directed by the Federal Government. With fees ranging between N110, 000 and N67, 000 respectively, and with a student population of approximately 200, the institute would still owe staff allowances and force lectures to jettison classes. This particular move is even a clear violation and sabotage of the TSA Account arrangement of the Federal Government who is leading a continued quest for accountability and zero tolerance to corruption.

    “Just on Saturday, 4th of June, 2016, the Financial Secretary of the SUG, Mrs. Mirabel Obodoefuna, who is in possession of documents that were to be used in the auditing of the SUG account, died in questionable circumstances, days after being intimidated and harassed into the signing of cheques… This late Financial Secretary had often reported an alleged threat to her life…”

    “It therefore, behoves the President of the Federal Republic, President Muhammadu Buhari (GCFR), the Honourable Minister of Information, Film bodies and agencies, and all film enthusiasts to intervene to save the institute from imminent collapse… The continued retention of the MD of NFC is tantamount to gladly sacrificing the future and lives of these innocent students. 6 deaths already, who knows who is next? Posterity is watching.”

    Hmmmm, Oga Dadu, how on earth did we get here?

  • WHEN LOCAL CONTENTS CRY FOUL

    I have no idea if Nigerian musicians ever protested to disk jockeys and radio stations in the days when foreign music was the in-thing here. However, some Nigerian filmmakers whose films supposedly do not make box office hit have had reasons to believe something is wrong with the distribution system which seems to be more in favour of foreign movies.

    I am of the opinion that no matter how derogatory we term the shrewdness of some entrepreneurs, we must understand they are in business for one basic reason; profit. Therefore, to allege favoritism is to undermine the power of demand and supply as determinants of how the pendulum swings in the market space. Like someone opined, “In business, you have to earn your staying power as a product in the market.”

    We have heard stories of how some Nigerian films are taken off the cinemas after a week of showcase. Emotions have led to arguments in this regard, with many calling for the heads of the cinema owners. But conspiracy against the exhibitors has not been successful because some Nigerian filmmakers have enjoyed robust exposure, to the extent of rivaling some foreign films in sales volume. Some have even blamed the seeming monopoly in the business as reason, but with the entrant of new cinemas in Nigeria, the situation still remains, therefore giving credence to the fact that the basic principles that governs business is universal.

    Recently, former president of Independent Television Producers Association of Nigeria (ITPAN), Femi Odugbemi called for change in the current distribution system for Nigerian films in Nigeria, describing what obtains now as elitist.

    Odugbemi who was speaking with TNS about how his new film, Gidi Blues performed in the cinemas decried what he called the absence of a level playing field between Nigerian and foreign films. He said the fact that there are very few cinemas in existence in Nigeria makes the distribution chain somewhat elitist. He therefore advocated for collaboration between filmmakers and distributors to bring about progress while also harping on the need for a conscious development agenda for our cinema.

    While I agree with the need for a conscious development agenda for our cinema, I am of the view that this should be directed to our policy makers whose directives on local content consumption are the rule to be obeyed by the distributors.

    I agree: “If you put a Nigerian film at 10am, in the morning on a weekday, how much publicity can you do to get people to leave their offices to go there? If you put only American films at prime time slots, of course, you cheat both your audience and the filmmaker.” Thus, we should take a cue from South African Broadcasting Corporation (SABC) which recently announced a 90% local content quota for TV. The management of the Corporation first announced a new language policy across the stations and then called a meeting with local film producers to find out how they can make the process of producing more local content a lot easier.

    Credit must be given to the erstwhile DG of the Nigerian Broadcasting Commission (NBC), Mr. Emeka Mba who heeded the protest by independent producers over the then airing of Mexican soaps and other foreign contents during the family belt (peak) hours. The producers confessed that that reversal helped to boost their production of local series and soaps on terrestrial television.

    Beyond this policy window which to me is in order, considering also that we need to encourage the banks doling out loans to filmmakers to recover their investment, it is important for commercial filmmakers to conduct market surveys at all times, and know what the audience wants in addition to upping the ante. They cannot continue to blame the distributors or exhibitors for the reason their films didn’t do well in the cinemas, as this case cannot be across board. Like a filmmaker, Chris Ekejimbe said, “Let’s stop reading conspiracy theories in failures, but analyze circumstances with a view to conquering.”

    Usually, the cinema houses schedule movies for prime time in the first week. Depending on the returns or prospects of the movie that week, the next week may see the movie retaining prime slots or going to morning or early afternoon slots.

    Owner of Filmhouse cinema and its distribution arm, FilmOne, Kene Mkparu, while responding to the different arguments on the issue, attempted a bail out, albeit he thinks this will make another intellectual discussion at future industry forum.

    “When it’s time to pay back the banks, where is the compassion for the cinemas?” he asked. “This is the point filmmakers refuse to accept and focus on… It’s about what the audience/consumer wants, not what the filmmaker wants or thinks is good enough!”

    According to Mkparu, “Filmmaker makes a good movie (to them), but audience refuse to go see it, and the good film fails in the cinema (it may subsequently do well at home or online).

    “But the filmmaker blames cinema and everyone else but not the product.

    “In some cases the film is good but no marketing, so the audience doesn’t know the film is even showing.

    “Perhaps anyone that complains about scheduling should show what times their movies got. Then comments may be made with facts!”

    He said it is not true that American films always have the upper hand over Nigerian cinemas. “Majority of the Oscar winning titles this year that played in the cinemas in Nigeria didn’t do well.”

    For Nollywood cinema movies which had great production values, good marketing and a good story and still didn’t do well at the cinemas, Moses Babatope of Filmhouse believes that wrong dating could be responsible. “Some filmmakers also undermine the importance of a well thought out ‘Dating Strategy’ when it comes to releases. You can have a well made film, with good marketing and a popular story line but releasing it on a wrong date can hamper the film’s commercial chances.”

    According to Babatope, “The cinema audience is still quite narrow especially because we are not able to open cinema locations fast enough. This means that most films are catering for/to essentially the same audience. When you then release your film on the same date or very close to a blockbuster, you take a huge risk of severely diluting your audience and compromising your film’s box office chances. There are of course exceptions to this theory but you will notice that those exceptions are the films that rank the highest on the box office charts.”

  • FILMHOUSE, FILMONE AND THE PRIVATE SECTOR INITIATIVE

    ONE may want to ask why Kene Mkparu, MD/CEO of Filmhouse cinema and FilmOne Distribution is having his hands in many pies. In no time, after coming into the film distribution and exhibition business in Nigeria, after serving at the Odion Cinema in the UK, he made cinema culture less elitist by evolving competition with Silverbird Cinema, which had existed as a monopoly in the market.

    Mkparu, during a forum, disclosed that the cinema isn’t just established for a certain class of people, but also prioritises reaching the common man in the society. “The cinema is not just opened for certain class of people; but has also prioritizes every member of the society. That is why we’ve made it affordable, and accessible,” he said.

    Rising from its relatively affordable charges on movies, the chain soon grew across the country, attracting bank sponsorship. And to show that the business is lucrative and had been largely untapped, Mkparu, who got part of his loans from Bank of Industry, paid up sooner than expected, thereby raising the hope of the bank towards investing in Nollywood.

    Interestingly, FilmOne, the distribution arm of the company, has also gone into film production and collaboration with artistes, some of whose films have made ‘impressive’ box office sales.

    Not stopping there, Image Maximum (IMAX), the world’s biggest motion picture film format which had been finding its way into the West African market found a dependable ally in Filmhouse with which it signed a deal in June 2015. Part of the deal was to construct an IMAX theatre in Lagos, marking the first-ever IMAX agreement in Nigeria and West Africa.

    Five months after the IMAX deal, another feat was attained with world’s largest producers and distributors of motion pictures, 20th Century Fox, bringing their investment to Nigeria courtesy of FilmOne Distribution. Many had hailed this as a huge landmark for Nollywood.

    As part of the agreement, this year, FilmOne Distribution is expected to release such titles as Independence Day: Resurgence, Ice Age: Collision Course, as well as The Birth of a Nation from the Studio’s Fox Searchlight Pictures division and Dreamworks Animation’s Trolls. Mkparu believes this partnership will do more than increase box office result in West Africa.

    There is no doubt that the vision of the founders of this company is to become a dynamic cinema company. Strategically, the cinema house has brought into visibility, different platforms at which individuals, organisations and agencies could also publicise their content and intent. These platforms include; Digital advertising, On Screen adverts, Foyer LCD TV, Weekly FilmXtra Magazine Ad placement and pop-corn packs, amongst others.

    Only last Wednesday, the group brought three film industry executives from the US for the first edition of its lecture series which held at Filmhouse Surulere (Annex), Adeniran Ogunsanya Mall, Surulere, Lagos.

    Stakeholders in the film industry agreed that was another eye-opener for an industry that has the potential to take up the world.

    “Thank you Filmhouse, FilmOne and Myfilmhouse Crew. The lecture series 1 was truly interactive and informative. Kene God bless you,” said a participant. And to emphasise the potential of Nollywood, another participant, Chris Ekejimbe, noted among other things that, “Take home from the first edition of Filmhouse/FilmOne lecture series is that trailers of two Nigerian films were played back to back with some from Hollywood and no difference in picture quality.” This, according to him lends credence to the possibility of Nigerian films being shown in cinemas across the ocean.

    The guests include Craig Shurn (based in South Carolina and England), former Vice President Sony Pictures, Director Filmhouse & FilmOne and former Film Booking Director Odeon Cinemas UK; Richard Signieski (based in Arizona and Prague, Czech Republic), CEO Blue Sky Media, a feature film distribution company with focus on Central/Eastern Europe and Africa and CEO MYFILMHOUSE VOD platform; and Peter Kornberg of Blue Sky Media (based in New York).

    At an educational Meet & Greet session with intensive Q & A on film business and networking opportunity, some of the questions that the series attempted to answer included the essential characteristics you look out for in booking a film; the term Film Hire and why Distributors and Producers find it expensive; the role of a Theatrical Distributor and Cinema Exhibitor.

    In the area of studio business, participants were taken through the role a studio plays in the Film Business life cycle, including how films are financed and green lit; the standard or base marketing plan for a studio title and the differences between a studio and Independents.

    In the area of Video on Demand (VOD), participants shared useful statistics on VOD penetration globally and indeed Africa; what it takes to set-up a successful VOD platform; how to guide against piracy on Internet VOD platforms; how to select content for VOD and what determines license fees that are set and paid; how the VOD transforms the fortunes of an interesting market such as Nigeria particularly with the challenges of internet speed, data costs, payment solution etc and why filmmakers are yet to record a success story of a VOD platform in Nigeria.

    The series also explored the area of marketing and advertising, with variables to consider when developing a marketing plan for a film’s release.

    With this, there is no doubt that the organisers recognise that the Nigerian film industry needs fundamental re-education in international standard practices in the business of film. And it is just pointless to wait for government agencies to initiate capacity development.

    If other investors in the creative industry would take a cue from the different engagements of this group of companies, the better life will be for Nollywood in its quest to ‘capture’ the world.

  • …AND CAMERON CAME CALLING

    FAR from the ‘fantastically corrupt’ pronouncement by outgoing Prime Minister of UK, David Cameron, and his recent resignation over Brexit, you must have heard of plans to showcase eight Nigerian films at this year’s edition of Toronto International Film Festival (TIFF) for which one Cameron Bailey has come to Nigeria; the crux for me is to say that it is no time to dance yet.

    Yes, Cameron Bailey, the Artistic Director of TIFF was in Lagos this week, where he was introduced at a press conference organised by Lagos State government to announce Toronto’s readiness for Lagos and Nollywood filmmakers during the 10-day film event holding in September. However, before we hit town with songs of victory for Nollywood – about how one of the leading film festivals in the world has come down from their high horses to ‘scout’ for Nollywood films, it is pertinent to understand that this is a privilege given to Nollywood to prove our worth to the world.

    Nigeria renewed its politics of ‘attention seeking’ from international film festivals more than 15 years ago, and seems to have the ear of TIFF because, somehow, Bailey, as a person, shares the aspiration of Nollywood. Amongst Afolabi Adesanya, former MD of Nigerian Film Corporation; Peace Anyiam-Osigwe, CEO of Africa Movie Academy Awards (AMAA) and Steve Ayorinde, Commissioner of Information and Strategy, Lagos State, there had long existed a tie with Bailey who has also visited Nigeria several times in the past.

    Although it has been difficult to get a Nigerian film into the festival’s mainstream as a journalist rightly observed at the press conference, one could imagine how Bailey must have tried to let this happen. One of such chances for Nollywood was a documentary called ‘Peace Mission’ showcased at the festival in 2008. If we expected this to soften the grounds for us, it did not work out because years after, those who curate African films for TIFF hardly find a Nigerian film for their line-ups. And when in 2013, Biyi Bandele’s “Half of a Yellow Sun” got official premiere at the festival; one could safely say that it earned that little space on the strength of the British Film Institute (BFI) which gave 30 percent sponsorship to the film and the lead actor of the film, Chiwetel Ejiofor, who incidentally featured in another film (12 Years A Slave) selected by the festival that same year.

    Here we are again, with Bailey pulling another stunt for Nollywood. Indeed, to have Nigeria on the number 8 slot, after cities such as Istanbul, Buenos Aires, Mumbai, Athens, Seoul, Tel Aviv and London, and the first to be profiled from Africa whereby South Africa has consistently made the line-up in the TIFF mainstream, couldn’t be short of playing our politics well. Thus, we just must create a good impression, not only on the organisers of the festival but on filmmakers and distributors world over, who will be attending the festival.

    Again, we develop so much gluttony for government largesse when the issue concerns film, and when that is not forthcoming, we speak blackmail because we think that by the cultural export nature of motion picture, we are doing the government a favour. This is why a filmmaker who claimed robust knowledge of Lagos and the Yoruba language wants the state government to bankroll a film project he thinks should be selected for the TIFF’s City-to-City showcase. I have said it several times that filmmaking is the filmmaker’s business just as farming is the farmer’s business and source of livelihood. If farmers don’t blackmail government by claiming that they feed the nation, then our filmmakers must have a rethink. All that government owes any sector of the economy is an enabling environment and intervention funds which may even come in form of loans. A commercial filmmaker who is waiting for government’s grant is just yet to define his purpose.

    Meanwhile, the City-to-City showcase is not about some propaganda films about Lagos, and Lagos is not looking for new films to take to TIFF, as there are more than enough productions and filmmakers whose works naturally have the flavour and colour of Lagos, a city which no one can afford to ignore in Nigeria, a former Federal Capital Territory, commercial nerve of West Africa and home of Nigeria’s creative industry.

    Interestingly, Bailey described Lagos as “the city of Fela Kuti’s music which has also given birth to one of the world’s most vibrant film industries.” Continuing, he said: “The 1,000 low-budget features ‘Nollywood’ produces each year generate about $1-billion in box office. Now, from that commercial hotbed, a new generation of filmmakers is emerging to both advance and challenge Nollywood. Bigger budgets, greater artistic ambition – the new cinema of Lagos is bold, exciting, and ready to take its place on the international stage. We’re excited to share the creativity of this remarkable city’s filmmakers with TIFF audiences in September.”

    Above is the synopsis of what TIFF is looking for, and I like the part that talks about the new cinema in Lagos and greater artistic ambition. We still have this quality even among the old crops in Nollywood, so, let’s pitch our works before August and stop cajoling government to fund our livelihood in the name of film.

  • SHOW OFF THAT TAX CERTIFICATE

    THERE is nothing celebrities don’t boast with. Facebook, Twitter, Instagram et al are awash with show of affluence: Mansions, cars, expensive spirit, guns, designer bags and shoes, etc but we are yet to see anyone showcasing their tax clearance certificate.

    Even now that the tax master is after the showstoppers, when and if they eventually pay up, I doubt that it will be a norm to show off their tax clearance certificate. But doing that makes more sense to me and I guess we need some new orientations on how to be a role model.

    On the other hand, I’m wondering if anyone who finds it difficult to pay tithe would find it easy to pay tax. It is ridiculous how people who desire plenty are stingy with little. And when some affluent pay tithe with their name boldly written on the card, it is sometimes to get the ‘front seat’ in church. I have heard security men, cleaners, drivers and other low income earners discuss how less generous most ‘big ogas’ are compared to the middle income earners. It is same for the capitalist who amass so much wealth but prefer to pay nothing, while the shop owner, vulcanizer, Okada rider and others are being chased by local government officers for tax on a daily basis.

    Nigeria has been hugely criticised, worse still, by tax evaders, for bad roads, erratic power supply, poor health facilities and low educational standard, comparing these to what obtains in the West. And now that the government of Change wants to heed their cry, they should do what citizens in the developed world do for their government.

    Some of us see the effort of this government, and it is our desire to see it succeed. We should help it to attain this goal by paying our taxes and generally doing things the right way.

    Common sense tells us to pay what we owe, service our loans and play the role-model by action. Celebrities must learn to give back to government from what they earn from performances, brand endorsements, distribution and exhibition of their works. It is not enough to flaunt this wealth by patronising expensive night clubs and displaying mansions, fleet of cars, designer wrist watches, shoes and bags. They should be the role-model that they are by also paying their tax.

    I dare say that people will ‘curse’ this government the more for attempting to do the right thing, but a discerning mind knows quality takes time, and there is need to persevere and rid ourselves of political sentiment. And just for those crying witch-hunting, I grew up hearing that those living in a glass house don’t throw stones and that he who must approach equity needs a clean hand.

    Why do we take things for granted? We should know by now that we cannot continue to do things the old way and expect new results. Asset Management Company of Nigeria (AMCON), I’m told, made a publication in December and gave a six-month notice for defaulters to make straight, their financial transactions. That was enough time to negotiate payment. Some entertainers have also been asked to pay backlogs of about N30m and more.

    Having heard so much about looted funds, it should be clear to us that this government is set to recover government monies. Government may be soft on the entertainment industry because of the unique cultural role it plays, but that does not remove the fact that it is a business like others. If the industry desires anything from government, it could come in form of grants and other types of interventions. Good enough, the Motion Picture Practitioners Council of Nigeria (MOPICON) draft which is meant to give the industry a formal structure is being reviewed. More so, the National Endowment Fund for the Arts is on the way.

  • AS LAGOS GOES TO TIFF

    SINCE the Toronto International Film Festival (TIFF) announced that its 2016 City to City programme will focus on Lagos, Nigeria, I’ve been on the look-out for which films best represent the splendor of the sandbank city.

    This is another opportunity to market the tourism potentials of Lagos and by extension, Nigeria to the world, especially in view of the fact that the North American country festival is the gateway to the annual Oscars; a festival that most film studios eagerly wait for every year.

    Although the festival has featured some great cities in the world such as London, Tel Aviv, Istanbul, Buenos Aires, Mumbai, Athens and Seoul, since it made debut with its City to City initiative seven years ago, the choice of Lagos, coming among the earlier choice cities is predicated upon the knowledge of Nigeria and Nollywood by the Artistic Director of TIFF, Cameron Bailey.

    It isn’t surprising therefore that Bailey sees Lagos as an inspiring city which has given birth to one of the world’s most vibrant film industries called Nollywood.

    “Vital, complex, and inspiring, Lagos is entirely unique,” said Cameron Bailey. “The city of Fela Kuti’s music has also given birth to one of the world’s most vibrant film industries. The 1,000 low-budget features ‘Nollywood’ products each year generate about $1 billion in box office returns. Now, from that commercial hotbed, a new generation of filmmakers is emerging to both advance and challenge Nollywood. Bigger budgets, greater artistic ambition — the new cinema of Lagos is bold, exciting, and ready to take its place on the international stage. We’re excited to share the creativity of this remarkable city’s filmmakers with TIFF audiences in September.”

    Now, there are a couple of films that came to mind, including Kunle Afolayan’s latest film, The CEO which explores the Lagos waters and the Inagbe Resort with an impression of the nightlife to expect. There is also Fifty, a Biyi Bandele direction produced by EbonyLife TV’s head honcho, Mo Abudu with enormous showcase of Lekki, and the beautiful Ikoyi bridge.

    What about Gidi Blues by Femi Odugbemi, Road to Yesterday by Ishaya Bako or Taxi Driver (Oko Ashewo) by Daniel Oriahi, which was predominantly shot at night.

    Irrespective of the year of production, other movies set in Lagos include Hoodrush, Journey to Self, Dazzling Mirage, Flower Girl, The Meeting, When Love Happens and Heroes and Zeros.

    Although these films might not have Lagos as their theme, it is imaginable which of their plots takes a rich shot at Lagos, given everything that the sandbank city represents.

    The Lagos’ story, if told, is a fascinating showcase of a city that grew out of colonial “interests” to become one of the most important economic, and cultural hubs in Africa. It is a city of remarkable history, and as former capital of the Federal republic of Nigeria, it has retained its verve as the commercial hub of the country.

    Indeed, Lagos has more, with potential for even more when you consider its entertainment centers, historical sites, cultural events, natural landscape, and topography traversed by sea and lagoon waters, enormous beaches and waterfronts, sea foods, and other numerous delicacies that define a truly metropolitan city.

    However, organizers of TIFF say the 2016; the eighth year of the City to City programme, will showcase filmmakers living and working in Lagos, regardless of where their films are set.

    We eagerly await the line-up this August, ahead of the 41st edition of TIFF which runs from September 8 to 18, 2016.

  • A NOLLYWOOD’S HOME IN PARIS

    UNTIL last week, logistics had made it difficult for me to attend the much talked about Nollywood Week Film Festival (NWFF) which made debut in Paris in 2013. How? The annual event is usually a week or two after the Cannes International Film Festival. So, hanging on in wait for the Paris event was more than I could chew.

    Not attending Cannes this year enabled my ‘energy’ to participate in the NWFF. Incidentally, the premiere of Kunle Afolayan’s latest offering, The CEO, added verve to this, being the opening film of the festival.

    I had not really appreciated what the NWFF portends for the Nigerian film industry until now. Unlike other film festivals, this one showcases, exclusively, Nollywood films to the French audience. Organised by Okada Media, headed by France-based Serge Noukoué and Nadira Shakur, this yearly selection of some of the best of Nollywood is also geared towards sustainable distribution system for the film.

    Interestingly, not only is the Cinema L’Arlequin, 76 rue de Rennes, Paris, venue of the festival fast becoming smaller for the event, the NWFF has been able to create a huge fan base for Nigerian films among the French, who now know our actors by name and could recall their characters in some of the Nollywood titles.

    Obviously, an alternative movie choice has been created in Paris for film goers, for which the organisers are looking forward to replicating the showcase in other cities in France. Helping this connect is the subtitling of all the films in official selection in French, a pain which the organisers have to bear for effective communication of the Nigerian culture, nuances and lifestyle to the French natives. This is a plus for any Nigerian film that makes the selection, as the free sub-titling will enhance their patronage in other Francophone markets.

    The festival paraded Nollywood films such as Falling directed by Niyi Akinmolayan, Fifty directed by Biyi Bandele, Gbomo GbomoExpress directed by Walter “Walterbanger” Taylaur, Lunch Time Heroes by Seyi Babatope, Stalker by Moses “Sneeze” Inwang, Taxi Driver(Oko Ashewo) by Daniel Oriahi and The First Lady by Omoni Oboli.

    There was also a roundtable discussion on Entrepreneurship & Cinema: Finding Funding, which ran a documentary on Tony Elumelu Entrepreneurship Programme (TEEP) and had discussions with Kunle Afolayan, Parminder Vir, Director of Tony Elumelu Foundation and Arthur Dieffenthaler, Commercial Manager, Air France.

    Restless Talent Management also gave filmmakers an opportunity to pitch their ideas in minutes to a panel of top industry professionals, with one of the prizes; the English category, going to London-based Tomisin Adepeju whose short film, The Good Son, screened at the festival.

    In another festival programme titled Actor’s Studio, actors including OC Ukeje, Yann Gael and Annabelle Lengronne shared some techniques and advice on the necessary steps to take toward becoming a professional actor, while the Monologue Slam, hosted by Kemi Lala Akindoju saw upcoming and professional actors take the stage to deliver a monologue from any film of their choice before an audience and judges. They also received pointers and tips from casting directors and producers.

    This year, for the first time, the festival showcased a selection of short films, including Hex, Prey, Joy, The Encounter, Keko, Ireti and the Restless Pitch winner, The Good Son.

    Indeed, the NWFF is a pleasant alternative to Cannes International Film Festival, pending when the industry is ready to play the politics of the former.

  • MOHAMMED MUSULUMI: A SOUND MAN DEPARTS MOVIEDOM

    AS the tears over the passing of Mrs. Biodun Ibitola, aka Madam Remdel , are yet to dry, Nollywood and indeed the African film industry has recorded another death. The man, Mohammed Musulumi, may not be known to many in moviedom because his activities are confined behind the cameras, but the substance he stood for will create a huge gap for the African cinema we are yet to bring so close through the medium of art and entertainment.

    A cultural ambassador and brain behind most Nollywood films dubbed into French, the last time I saw this amiable gentleman who spoke Hausa with me all the time was during the shoot of The Visit; the four-cast movie featuring Nse Etim, Femi Jacobs, Blossom Chukwujekwu and Bayray McNwizu.

    As a sound technician to Pierre Barrot, former Regional Audio-Visual Attache at the French Embassy in Lagos, Musulumi, in the early days of the Nollywood phenomenon was one of the few who craved professionalism and market expansion for the Nigerian films through quality sound production and subtitling in French, English and Hausa.

    An expert who trained in Paris and Bamako, Musulumi was a teacher in rhythmo dubbing who translated several Francophone productions into English and vice versa.

    Fluent in English, French, Yoruba, Hausa, Arabic and Bariba, some of his earlier works include The Apple by Lancelot Oduwa Imasuen and Wale Adenuga Production’s Super Story among others. He had also for several years, supervised the dubbing activities at the popular Accra Film Institute (NAFTI).

    He was said to have died of hypertension on Monday, May 30, 2016 while working somewhere in Republic of Benin.

    “Even if we have some other person with your knowledge, will he be calm, gentle, soft-spoken and ready to teach?” queried Francis Onwochei in a eulogy to the deceased on his Facebook page.

    Attesting to the creative ingenuity of the deceased, Onwochei recalled:  “When in 2004 I got a grant from the French government to make a film. The then Audio-Visual Attache Pierre Barrot promptly introduced me to Mohammed Musulumi, the only sound technician he trusted to execute my French subtitling. Musulumi Mohammed trained in Bamako and Paris, he was calm, gentle, almost timid. He is perhaps the best trained hand in audio post synchronization technique, using the Rythmoband software. He did my subtitling for ‘Claws of the Lion’ which won four awards. Mohammed is my consultant towards a new distribution model to expand opportunities for our Nollywood films around the world.”

    For Dare Fasasi, aka Baba Dee, “Another great talent gone, he did the audio design for my film ‘Head Gone’ and the post sound editing , we prayed and fasted together during the month of Ramadan, who would ever know that he (won’t) be around for this year’s fasting. May his gentle soul rest in peace with his Maker.”

    “What a loss! I have also had the privilege of meeting him to do a translation. Mr. Femi Odugbemi provided the link and of course in sound and translation, he is the man. May his soul rest in perfect peace,” said one Abraham Oyedele.

    “I was just thinking of asking Mr Niji Akanni of his number because I have a French lip (syncing) job I want us to do together. This is indeed very sad. We worked together on the set of ‘Heroes and Zeros’. He was indeed a rare gem. Bon nuit mon ami gentil,” said Abiodun Jimoh Kilanta.

    “More than my trainer in voice dubbing, you were a friend. You taught me all the intricacies of the technique. You can be proud to have reproduced yourself in me. Oh Mus, why did you do that? I just can’t believe this. I wish I could get through to your family in this time of trial,” wrote Ketsia Fodjon.

  • ONE YEAR OF SHOWBIZ UNDER PMB

    FOR over 20 years since the evolution of what today is called Nollywood, a home video phenomenon that kick-started another leg of the journey for the Nigerian motion picture industry; the fear of piracy, the monster that dealt a monumental ‘wreck’ on legendary comedian and filmmaker, Moses Olaiya, aka Baba Sala, has grown into an institution.

    But there appears to be a resolute resolve to tackle the menace head-on since Muhammadu Buhari took over as President of Nigeria on May 29, 2015. Thanks to the anti-corruption war of the present regime that has set the notorious Alaba market restless with the current prosecution of three suspected pirates.

    PMB had said on July 14, 2015, after receiving a briefing from the Permanent Secretary of the Ministry of Information, Dr. Folasade Yemi-Esan and her Directors that, “Nollywood is making progress. We should work with them. Unless they are backed, they will be ruined by pirates who want to reap where they have not sowed.” This was barely two months after he took over from former President Goodluck Jonathan.

    There appears to be a systematic approach towards the cleansing of the entertainment industry which has been lacking in structure and other aspects of harmony. To this end, the PMB administration, in line with global standard, brought the entertainment industry under the Culture Ministry, with Alhaji Lai Mohammed as Minster of Information, Culture and Tourism. This is a demand which entertainers had long been clamouring for and one which was considered to be partly responsible for the stunted growth of the sector. Before now, the motion picture was the only sector in art, culture and entertainment that was under the Federal Ministry of Information, causing major disconnect between the industry and other sectors in the art. This is just as only the Culture Ministry is empowered to sign international treaties which are very needed for the continued growth of the industry.

    Having overcome this lacuna, the Minister had on February 5, met Nollywood stakeholders at a roundtable in Lagos, attended the 2016 Kannywood Awards and other forums where he emphasised on plans to set up the National Endowment for the Arts (NEA) and establish the Motion Picture Council of Nigeria (MOPICON). But these cannot be achieved without calling for a draft bill and revisiting old ones for relevant areas of review.

    NEA, he said, will ensure sustainable funding for all the genre of the arts while MOPICON is expected to enhance professionalism and create a channel of intervention for government’s good promises in an accountable and sustainable manner.

    “We are forwarding a copy of the draft Bill on the establishment of the National Endowment for the Arts to the Ministry of Justice. My plan is to fast-track the realisation of the NEA in order to guarantee sustainable development of the creative sector,” said Lai Mohammed.

    On MOPICON, which will regulate motion picture practice in Nigeria, he had since inaugurated a 29-man review committee with a view to fast-tracking its passage into law and paving the way for the establishment of the council.

    Why all these gradual recreation of a foundation for a seeming dilapidating sector? This is because the entertainment industry and other creative non-oil sectors are cash cows, and in the spirit of diversifying the Nigerian economy from ‘absolute’ dependence on oil, they must not be allowed to die.

    Consequently, the Minister promised to work with the stakeholders in the movie industry to tackle challenges such as piracy, distribution and exhibition, funding, and the re-organisation of the regulatory agencies.

    Not stopping there, the Ministry put together a 3-day summit on the theme: Repositioning Culture and Tourism in a Diversified Economy. This took place in Abuja from April 27th to 29th. The communiqué from that summit has provided enough for the government to work with.

    There is no gainsaying that these forums with Lai Mohammed were not the usual tea party and money-driven rendezvous that used to attract a crowd of entertainers to government. It is interesting to know that entertainers who attended the Abuja summit footed their bills, while the MOPICON committee sat without allowance.

    This is a pace-setting regime, and knowing that a proper development is only sustainable on the right kind of structure, this indeed is progress in motion. And like my 15-year-old son would say; ‘quality takes time.’

    Welcome to another 365 Days of PMB, Lai Mohammed and the creative non-oil sector.