The Nation Newspaper

Category: Victor Akande

  • Ofinga: More tears for Madam Remdel

    HER last film, Ofinga, was long overdue before her death. In that flick, late Pastor (Mrs.) Abiodun Ibitola brought tears to the eyes of many during a 2010 premiere with the then Governor of Ekiti State, Engineer Segun Oni, at the Government House in Ado Ekiti.

    One of those I saw visibly dabbing his face in the dimmed light was the erstwhile Director General of the Nigerian Broadcasting Commission(NBC) Mr. Emeka Mba, during his tenure as D.G of the National Film and Video Censors Board (NFVCB). That is how strong and deep the message in Ofinga is; especially in relation to family values.

    The film mirrors the African society where the dictates of the western law often clash with the simple culture and tradition of Africans. The story line revolves around the culture clash, the issue of widowhood and inheritance.

    Written by Prof. Akinwumi Isola, produced by Abiodun Ibitola, and directed by Tunji Bamishigbin, the film revolves around Wuraola, a widow who lost her husband, Wale in a fatal motor accident. Wale had maintained a perfect African traditional home in which extended family members lived with his nuclear family under the same roof. However, after Wale’s death, Wuraola attempts to change certain expenditures on the extended family which Wale was committed to during his life.

    Wuraola’s decision to heed Wale’s lawyer’s advice, Ofinga who seriously insists that she turn down any request from the family of her deceased husband marks the crisis point in the film. The interplay of strong emotion, application of the western law and traditional African system of dispute resolution of such problems combine to take the plot to the climax. The resolution is pathetic.

    “Oh my! Remdel is gone!” lamented Mba when he heard of the passing of the culture promoter. And I wondered too why she didn’t wait a bit longer to produce more films, especially now that the cinema business in Nigeria is expanding; now that the Bank of Industry is partnering to boost Nollywood; now that government seems serious about dealing piracy a hard blow; now that the National Endowment for the Arts (NEA) is in the pipeline. It is so sad that Madam Remdel as she was fondly called put so much into the Nigerian film and music industry but couldn’t wait to partake in the ‘gain’.

    Ofinga has not been able to make it to the cinemas due to the format in which it was shot. It would cost as much to convert it as it would to shoot another movie entirely. This was the dilemma of the late Remdel boss; coupled with the fear of pirates should it be released to the homes.

    Tributes have been pouring in for the deceased from many filmmakers who believe that Madam Remdel’s passing has left a vacuum in the film industry.

    According to Dr. Tunji Azeez, a Theatre Arts teacher at the Lagos State University, “She lived a life of service to humanity. May God accept her soul and grant her family and the entire art world the fortitude to bear this great loss.” This was just as filmmaker Tunde Olaoye described her as “A rare, humble, amiable, free-spirited, matronly, creative and loving angel. A Stallion she was. “O d’igba Ose, Iya mi,” he bidded her farewell in Yoruba.

    Also commenting on her landmark in the film industry, film marketer Yinka Ogundaisi made reference to other works by the deceased. “Afonja, the historical movie that established how Ilorin was founded, and why the Yorubas of Ilorin came from Oyo, was one of her credits. Owo Eje (Blood Money) was another that depicted life in the 70s. Hers were no mean contributions to the movie industry. I pray God give her soul the perfect peace she deserves. RIP, Pastor Ibitola,” he said.

    Notable filmmaker and former president of Association of Movie Producers, Madu Chikwendu said: “Yet another Amazon bites the dust….leaving behind another massive box of unfulfilled dreams. A great woman of vision and extraordinary abilities. It would be very insulting to place many of the Buccaneers and Cheerleaders masquerading as “Leaders” beside her towering figure. RIP Remdel.Aluta Continua…Victoria Aserta.”

    Film critic and culture journalist Shaibu Husseini recalled that the late Ibitola founded the Festival of Indigenous Language Films (FIAF).

    “One of the pains she shared with me is not being able to sustain such an all-important festival which provided access for indigenous filmmakers, and created an opportunity for networking among indigenous filmmakers,” he said.

    “It was on the grounds of her festival that I first heard of the existence of an Igbo Film Forum… Madam Remdel was an Amazon. She had a felt passion for the arts and film. May Remdel rest well and may God give her family, particularly her very supportive husband the fortitude to bear the irreparable loss. Good night Pastor Mrs. REMDEL.”

    Also reacting to the passing of Ibitola, Alex Eyengho, President of Association of Nollywood Core Producers (ANCOP) said: “She was a warrior, a compatriot, a dependable ally, and a believer in the common good. I was part of the three editions of her indigenous film festival. In fact, I screened two of my films in Itsekiri language at the first and second editions of the festival in Ondo State. A very good combination with the husband. Very receptive couple. She was my close confidant. May God grant her family the fortitude to bear this irreparable loss of a rare gem.”

    The late broadcaster and culture promoter also founded a film school which started as Behind the Screen Nigeria (BSN) Art Institute, which later changed to Remdel Film Institute.

    She was Press Secretary to the wife of former Governor of Ekiti State, Erelu Angela Adebayo, between 1999 and 2003. Under her leadership, Remdel Optimum Communications promoted musical and video works of artistes such as Evangelist Bisi Alawiye, Evangelist ‘Dunni Olanrewaju (Opelope Anointing), Tope Alabi, and Daniel Aregbesola.

    Until her death, Abiodun Ibitola, a Pastor with Covenant of Peace Family Fellowship, was the Managing Director of Remdel TV broadcasting on Channel171 on Startimes.

    Her last movie, Ofinga, from her Remdel Optimum Communications won the best produced film of the year at the ZAFA award ceremony in London in October, 2009. The film stars heavyweights such as Alagba Adebayo Faleti, Professor Akinwumi Isola, Bukky Wright, Margret Oyin Adejobi, Biodun Ladipo, Akin Lewis and Tunji Bamishigbin.

    This classic is one of the legacies of the departed, it will surely, among others feats, immortalize her memories in our hearts.

    Adieu, Madam Remdel.

  • FEELERS FROM PALAISE DE FESTIVAL

    AS the 69th edition of the popular Cannes Film Festival opened last Wednesday, not only did Nigeria shun the festival in an obvious manner like never before experienced in the last 10 years, Kunle Afolayan appeared to have led the ‘rebellion’ with the press screening of his new movie, ‘The CEO’, on the same day, engaging an important aspect of France’s institutions, Air France, who were the much touted sponsors of his pan-African film, at the Silverbird Cinema, Ikeja City Mall, Lagos.

    Against my insinuation last week that there would be a zero presence of Nigeria in Cannes this year, we however learned that there are four Nigerian movies; ‘Iterun’ by Stanley Ohikhuare; ‘Adindu’ directed by Ifeoma Chukwuogo,  ‘No Good Turn’ directed by Udoka Oyeka, and ‘Erased’ by Baba Agba. These four are exhibiting their works at the Short Film Corner of the festival. Established since 2004, short film producers and directors have chosen the Short Film Corner as the place to present their films, make meetings reality and take decisive steps for their future careers. This is how far Nigeria has gone artistically at Cannes, save for some screenings at the Nigerian pavilion.

    Kunle Afolayan is particularly dissatisfied with the disposition of the Francophone countries to films from Anglophone Africa. This is the same issue that Nigerian filmmakers have with Pan African Film Festival (FESPACO) in Ouagadougou, Burkina Faso, that many have sworn never again to attend. The matter drew the ire of Nigerian filmmakers when the management of FESPACO insisted that works from Nigeria are to be categorized as Home Videos, and not Films.

    Well, FESPACO and Cannes are moving on with or without Nigeria, and it is just difficult to ignore an event that has come to be regarded as the World Cup of film festivals.

    There is also no gain saying that whether or not Nigeria is listed in the Official Selection of films in competition at Cannes, being present at the annual event usually provides a huge platform for networking. And more could be achieved by the time we get our international treaty priority right, and evolve projects capable of penetrating other markets. Looks like we already have one of such in ‘The CEO’, for which Afolayan is already getting some distribution requests coming from outside Nigeria.

    More so, the charm of Cannes is the glamour of this annual movie extravaganza on the Mediterranean coast of France, attracting all manner of movie, television, and fashion stars to the Riviera for a week of parties, premieres, and posing, in the words of Popsugar. Interestingly, Woody Allen’s personal life became a subject of news, even as his comedy film, ‘Café Society’ opened the festival. Many find it so revealing that a man who has made movies for more than six decades does not read interviews about himself, or reviews of his films.

    It all started after master of ceremonies Laurent Lafitte directed a shocking remark at Allen, saying: “It’s very nice that you’ve been shooting so many movies in Europe, even if you are not being convicted for rape in the U.S.” Unlike the audience, Allen was indifferent.

    He said during the usual post screening press conference the next day: “I am completely in favor of comedians making any jokes they want. I am a non-judgmental or censorship person on jokes. I’m a comic myself, and I feel they should be free to make whatever jokes they want.”

    Continuing, he said: “It would take a lot to offend me. What bothered me most last night was the length of the show before the movie. I’m sitting there. I know I have a movie that’s an hour and a half; I would like the introduction ceremony to be 20 minutes, half hour at the most. I don’t want you to spend an hour on the show. By the time my movie comes around at the end, you’re antsy in your seat. To me, that is the mistake of the show. It goes on for too long. Cut that down.”

    When asked about the Ronan Farrow guest column published in The Hollywood Reporter about how the media didn’t take seriously the rape allegations made by his sister Dylan Farrow against their father. Allen said he hadn’t read the piece. But this is not the gist. “I never read anything about me, these interviews I do, anything,” Allen said. “I said everything I had to say about that whole issue in The New York Times. I have moved so far past it. I never think about it. I work. I said I was never going to comment on it again. I said everything I have to say about it.

    When also asked if he’ll ever read the piece, Allen responded, “I never read what you say about me, or the reviews of my films. I made the decision I think five years ago never to read a review of my movies. Never read an interview. Never read anything, because you can easily become obsessed with yourself. [It’s] a bad idea to consume yourself with this stuff. You should do your work, not call up and find out how the grosses are, how is the film doing? How are the reviews? Forget about all that. Just work. It’s worked for me. I’ve been very productive over the years by not thinking about myself. I don’t like to hear that a critic thinks my film is a masterpiece, and I don’t like to hear that a critic thinks my film misses.”

    Sure, there will be more of this kind of revelations coming from the many stars of the Cannes Official Selections.

  • MISS CANNES, COME TO NOLLYWOOD PARIS!

    BY this time next week, the prestigious Festival de Cannes will be in full swing, but there will be no mention of Nigeria: not in the festival brochure as a contingent or a notable film industry from Africa. There will be no mention of a Nigerian as part of the entrants selected for the short film corner, because there is none of this ‘least’ of all participation. The traditional Nigerian pavilion would have been taken over by another African country, perhaps Kenya, our next door Cannes neighbour, who has been seeking serious attention in the past four year or thereabout.

    This is no news because since Danjuma Dadu took over as MD of Nigerian Film Corporation (NFC), there had been no strategic coordination of Nigerian filmmakers for ‘anything’, let alone to attend Cannes, and at least showcase what we have got to the rest of Africa who look forward to meeting and making business with Nollywood filmmakers they’ve heard so much about.

    Nigerian filmmakers in Diaspora too, who look forward to the Pavilion as home will again be ‘stranded’. These set of Nigerians (we meet them each time we travel out) want to know more about home and how they can come in and do business differently. They would want first hand information about the BoI NollyFund, Access NollyFund, the MOPICON draft bill, AVRS. They would want to meet with the likes of Kunle Afolayan, Lancelot Imasuen, Omoni Oboli, Rita Dominic, etc and possibly seek some deals with them. But these people won’t be in Cannes this year, neither are their representatives.

    This year, not being in official selection notwithstanding, there may be no such strategic sessions and talks about production and distribution deals among Nigerians and other black filmmakers who usually meet at the Nigerian pavilion.

    Incidentally, Nigeria has, between last year and now, produced some of the best films that will go down in history, thanks to the BoI NollyFund with support for films such as The CEO, Amina, Three Wise Men, Ayama.

    There are others like Fifty, Surulere, and the movie of the moment, Wives on Strike. Who knows? These productions could have found some distribution deals or open up new discussions with collaborators.

    I will miss all of these, plus the gleam of festival; the films, crowd and red carpet streets all of which make the event a film pilgrimage in Cannes, a small tourist city in France.

    Wherever you turn, a film premiere is in the offing, attracting a curious crowd of movie buffs and lens men who desire to catch more than just a glimpse of the visiting celebrities. This is just about the ‘surround sound’, because Palais des Festivals, the traditional hub of the festival is a bee hive of activities with highly competitive admission.

    I will miss the late night movies and parties, and the usual haste to catch the last train to Juan les Pins, a two-train-stop away from Cannes which serves as alternative town for accommodation. This is because the festival is the most revered in the world for networking on film matters, and a holiday which many people look forward to all over the world.

    Every hotel in town and neighbouring towns is sold out. It is the highest season of the year, and every ware is just thrice the normal price. Even seeing the films in ‘high places’ is subject to exclusivity, in view of the ‘invite only’ factor. But there is always something for everyone. There are out-of-competition and classic films that people can see through the “Cinéma de la Plage” (Cinema on the Beach) program. There are side screenings in most pavilions, but you also must be duly accredited to gain access.

    The high point of the festival is about the films in competition, the stars of the movie as they adorn the red carpet and answer burning questions from the press. Sometimes too, the works being showcased gets audience’s reactions even before the jury make decision on the film; cast are booed or praised.

    This is what you and I will be missing this year, including some of the films in the line-up such as the latest by heavyweights like Woody Allen (Café Society)

    and Steven Spielberg (The BFG), plus new work from some of the globe’s most celebrated filmmakers, including Romania’s Cristi Puiu and Britain’s Ken Loach.

    However, in the first week of next month, Paris will open its doors to Nollywood, and Nigerian films will not be lost among the Cannes’ crowd. Because filmmakers around Europe will have another opportunity of taking a shot at Nollywood, and who knows what deals could come out of that. The event is Nollywood Festival Paris (June 2-5), where Kunle Afolayan’s latest offering, The CEO will enjoy a special premiere. Recall that it was at the same event, last year, that Afolayan met the Vice President of Air France. The outcome today is that he (Afolayan) is the airline’s brand ambassador.

    Afolayan wrote: “1st of June 2016. The CEO Special premiere. Red Carpet at Check-In Counter. Cocktail party at the Boarding Gate to the plane. Movie screens onboard the plane Lagos-Paris. After party happens 40,000ft above the sea level. It’s an experience you don’t want to miss. Powered by @airfrance @goldeneffectspictures #peugeotnigeria #airfrance #goldeneffectspictures #kap #film #fortheloveofcinema #inagbegrandresort #TheCEOmovie”

    Meanwhile the official selection for Nollywood Festival Paris has heavy presence of some award-winning flicks of 2015. They include: Fifty by Biyi Bandele , Falling by Niyi Akinmolayan, The First Lady by Omoni Oboli, Stalker by Moses Inwang, Gbomo Gbomo Express by Walt Taylaur, Lunch Time Heroes by Seyi Babatope, and Taxi Driver by Daniel Oriahi.

    It was also announced that this year, for the first time, the festival will showcase a selection of short films. The pact has seven short films which consist of Hex, Prey, Joy, The Encounter, Keko, Ireti and The Good Son.

    The festival is being organized by the French-based association Okada Media, headed by Serge Noukoué and Nadira Shakur, and created to fill the void of quality Nigerian cinema in the French market.

    So, if you miss Cannes, don’t miss Paris!

  • T.H.E.S.E Ambode sef (2)

    AS a fan of arts and entertainment, I always pray that men who appreciate the creative sector to be in power, because through them can one see the creative beauty of the ‘cerebral’ flowers in the day. The situation is not the same with politicians who see entertainers as sheer praise singers.

    What is this thing about the beauty of the flower in daylight, you may want to ask. Going by their nyctinastic trait, many types of plants open in the sunlight and close in the dark. Plants usually perform this movement to save their flowers from night-time nectar thieves like bats and moths or to protect themselves from night-time chill and other forms of harsh environmental conditions.

    Governor Akinwumi Ambode of Lagos State is one of the few leaders in the country who seem to understand this socio-economic phenomenon, akin to the life of these smart species of plants. Given his background as a public finance and management consulting expert, he sure understands the role of arts and entertainment in the heart of his much touted Lagos tourism drive. Suffice to say the entertainment industry is like that ‘cerebral’ flower that has come to rescue our GDP from the ego and threats posed by oil, even as it remains an alternative means of IGR for the State.

    Tonight, as countries all over the world celebrate the UNESCO’s International Jazz Day, the Lagos State helmsman is living true to his campaign promise of providing the right platforms for entertainment to thrive. This is a part of the T.H.E.S.E acronym which as a whole bellies ‘Tourism, Hospitality, Entertainment/Arts Sports for Excellence’.

    Ahead of today’s show, Ambode, on Wednesday, played host to key promoters of jazz music and concerts at the State House, where he shared his vision of Arts and Entertainment with them, and considered ways that government could be of support to the creative industry.

    I particularly like the ‘think big’ factor in the governor’s speech to his visitors when he said: “We want to emulate and even surpass the International Jazz Festival in Cape Town, South Africa, and then be on the world stage and that is the significance of this collaboration that we have decided to go into.” And talking in Naira and Kobo, Ambode’s constant reminder of the economic power of entertainment is commendable. “We want to use entertainment to grow our economy, create jobs for the people and create that global picture of what Lagos is and what Lagos is not,” he emphasised.

    Tagged “Lagos in tune with the world,” it is obvious that this show is preparatory to the bigger vision for Lagos tourism and build-up to a grand stage concert in 2017. Same for last December’s ‘One Lagos Fiesta,’ a five-day concert staged across five Lagos communities – Ikorodu, Epe, Agege, Badagry and Lagos Island – and parading performing artistes too numerous to mention.

    I eagerly wait for that day when all the tourism potentials in Lagos State will be harnessed for the all-important social and economic benefits that Ambode craves: the 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 true metropolitan city.

    With 114 roads earmarked for construction and reconstruction by the incumbent administration, the Blue Light Rail project from Marina, and the proposed Fourth Mainland Bridge, there is no doubt that traffic jam which is a major put-off for even visitors to Lagos from other states, many will soon begin to rethink their destination of choice.

    Meanwhile, let us enjoy the Jazz shows taking place at different Lagos venues today, including the one being hosted by the Governor, with Gbenga Adeyinka and Dare Art Alade as anchors and an impressive line-up of artistes such as Lekan Babalola (a two-time co-Grammy winner), Herbert Kunle Ajayi, Bright Gain, Adeh and the Spectacle Band, Ubong Ntia and, Sam and the Jazz Apostles featuring Dera.

  • What ABBA can do, the creative sector can surpass

    POTENTIAL is one phenomenon that the developed countries take seriously. Thus, with all the talk about the potential of the creative sector, it is just time to walk the talk, if the Federal Government’s interest in diversifying the economy is anything to go by.

    With our population of 170 million people, the country’s entertainment industry is capable of a robust impact on a subsistent level, with the right structures in place. And thinking about how exportable Nigerian music, comedy and movies have become, one can only imagine what the right support mechanism can do to the Nigerian economy.

    I was inspired to revisit this seeming old topic after listening to some of the speakers at the fourth edition of the Nigerian Entertainment Conference (NEC) which held at the Landmark Event Centre, Lagos, on Wednesday. Interestingly, notable broadcaster and moderator of the first session, Jika Attoh, opened the discourse with thoughts on ABBA, the Swedish Pop music group that became a remarkable export and source of revenue for the Swedish economy.

    Made up of Agnetha Fältskog, Benny Andersson, Björn Ulvaeus and Anni-Frid Lyngstad, ABBA rose out of Sweden in the 70s to become one of the most successful and beloved pop groups in music history. Translating this to ‘Naira and Kobo’, the group, for a few years, ranked second only to automaker, Volvo, as Sweden’s biggest money-making export.

    According to the RIAA (Recording Industry Association of America), ABBA has sold more than 10 million records in the U.S., while estimates of worldwide sales range as high as 350 million. In the U.K. alone, these Swedish superstars charted 19 Top 10 singles (including nine that went to Number One) from 1974 to 1982.

    Given the right business environment for showbiz in Nigeria, there is no gain saying the face that the sector is capable of overtaking oil, going by submission of many at this year’s NEC Series which had as its theme: Entertainment Industry as Last Hope for Africa’s biggest Economy.

    Sonnie Ayere, a finance expert and CEO Dunn Loren Merrifield recalled his visit to Rwanda at a time, and how, for the better part of the evening, the songs being played at a relaxation joint were Nigerian music. “I felt very proud,” he said, noting that the contribution of the entertainment industry to the Gross Domestic Product (GDP) is surprisingly N1.35 trillion, about 0.8 percent.  He expressed regrets that the industry is seriously fragmented and there is need for a pressure group to standardise the industry, so that the group can mobilise formal financing for growth. According to Ayere, the industry employs over a million people and it’s an extremely important part of our economy.

    Another panelist, Wole Oguntokun, a creative content producer talked about the need to collaborate widely rather than wait solely for government. He prayed for a day when government’s interest in the sector would not be for political gains.

    For Tony Ojobo, Director, Public Affairs of Nigerian Communication Commission, there are new vistas of opportunities available for creative content owners to make money.

    “As at year 2000, we only had 50,000 Nigerians using the internet. But from 2001 when the NCC licensed the digital mobile operators till date, there are 97 million,” he said. The implication, according to Ojobo is that there are more people using smart devices, downloading music, and watching movies on the go. As a result of this, “between MTN and Glo, about N9 billion has been paid to artistes just for ring tones, while Airtel pays between 10 to 20 million annually to each artiste for ring tones,” he disclosed.

    As part of his company’s research on the number of views that artistes have on YouTube, he disclosed that P-Square’s song, Personally, has 46, 591, 476 views; D’banj’s Oliver Twist has about 34 million views; Iyanya’sKukere has about 28 million views; Yemi Alade’s Johny has about 24million views; Davido’s Aye has about 21 million views and Flavour’s Nwa Baby has about 17 million views.

    According to Ojobo: “Each time there is a view on YouTube, money is being paid to the artiste,” meaning that there is a relationship between the number of views an artiste get on YouTube and how much money they are making.

    More so, the NCC, he said, is planning to bring in four new players into the ICT space which invariably will increase competition and, in turn, have impact on the speed of service delivery. “The faster the access to the internet means more money coming to people in the entertainment industry, because there is a relationship between ICT development and increase in GDP.”

    Suffice to say that while the industry is still battling with the problem of auditable business structure that has made it difficult for investors; poor distribution and exhibition framework that have made returns less attractive, and the inability to nip piracy in the bud, there are some alternative market platforms online. Yet, the ABBA story should remind government of what they stand to lose should they continue to leave the entertainers to their fate.

  • Hiding under ‘creativity’ to gag common progress

    UNLESS we want to promote lawlessness, people and institutions must submit to common rules and regulations. Even the proponents of freedom of expression know that only a certified madman is guaranteed total freedom of expression under the law. Even at that, it is not out of place to tie and gag him from statements or reactions that infringe on the rights of others, or one capable of causing undue influence, public nuisance or disorder.

    Why are there no arguments over Nigerian Broadcasting Commission (NBC)’s ban of some songs? Even the owner of lewd creativity knows his audience, thus, there was not protest when the NBC placed a ‘Not to be broadcast’ label on Olamide’s Don’t stop’,  Bobo  and Falila Ketan, Reminisce’s Tesojue  , Naeto C’s Tony Montana featuring D’banj , Phyno’s Yayo ,Wizkid’s In my bed , Iyanya’s Gift featuring Don Jazzy, Lil Kesh’s Gbese  and May D’s Ibadi.

    For the antagonists of the much publicized Motion Picture Council of Nigeria (MOPICON), it is just sad that one is yet to hear any cogent reason for forming an opposition against a council that is supposed to give the film industry a respectable front. Even after the Minister of Information and Culture, Alhaji Lai Mohammed clarified government’s position during the inauguration of the 29-man review committee, naysayers have stuck to the kind of position that would not let the PDP see any good from the APC and vice versa.

    From their mouths, two major reasons have been much pronounced: one is that the Federal Government intends to muzzle creativity, while the second, which is exclusive to younger filmmakers, is that the council is totally against their demographic. Added to these is that MOPICON is less of as a priority to the Minister’s proposed National Endowment for the Arts, and the much canvassed film distribution framework. But I tell you this; the film industry is too divided to get serious attention without a formidable umbrella body. Nollywood needs to harmonize its positions to pave way for government’s plans for the industry. And what are these plans? “…Stepped-up battle against piracy, the establishment of the National Endowment for the Arts and the need to reverse the lack of policy direction in the movie industry,” said Lai Mohammed.

    I didn’t see anything like ‘regulation’ in this context. In fact, the man came out clear, saying that MOPICON “is not another attempt to set up another content regulatory agency or another parastatal of government. Government is even thinking of merging existing institutions; hence it is not prepared to waste scarce resources in establishing another agency. MOPICON is and will remain an industry-run lobby and pressure body that will foster the achievement and maintenance of the highest professional and commercial standards in the motion picture industry as well as ensure the protection of the rights and privileges of motion picture practitioners in the lawful exercise of their profession.”

    I think that we have dissipated unnecessary energy and impatience on the issue of MOPICON when in actual fact, the process talks about REVIEWING a draft bill that could have been passed into law in its ‘raw’ state during the last administration. And why would anyone not want to subscribe to a rare opportunity to review of an idea for progressive reason? I think that rather than being a dream killer, everyone should be involved in this, to give MOPICON a meaningful life. I have supported the idea since inception and can only reverse my position if indeed it is oppressive.

    However, this statement by Lai Mohammed should allay the fears of cynics:

    “One of the ways we think we can tackle frontally the many challenges militating against professional and career fulfillment in the movie industry is to have a central body we can always refer to in decisions aimed at improving and modernizing the motion picture industry.  Also, government’s interest in setting up of MOPICON is driven by the fact that we at the supervising ministry need to work with a formidable representative group that is empanelled to lobby for the growth, development and welfare of the industry and its practitioners as well as make for a better organised and more visible and vibrant Nollywood industry. We have no hidden agenda and we will not be part of anything that will stifle the growth of the burgeoning industry.”

    And I ask: If government has not successfully gagged the media, why should the film industry palpitate over nothing? In any case, I am yet to see any ‘radical’ creativity that had not been checked by government agencies in the past. Ishaya Bako’s documentary, Fuelling Poverty was banned without MOPICON having a hand in it, just as Biyi Bandele’s was asked to expunge some perceived offensive scenes in Half of a Yellow Sun. Whereas, their counterparts in other countries who were faced persecution found filmic expressions around the world. If you are truly an activist, nothing and no one can hold you down. In fact, you are a candidate of the world.

    I recall that South African film, Of Good Report was outlawed by the government of that country, but Jahmil XT Qubeka, the film’s director did not only push on by taking the movie to the global stage, including the Toronto International Film Festival, he had claimed for damages allegedly caused by the Film and Publication Board (FPB) of South Africa, over assertion that the movie contained child pornography. He slapped them with a 28million Rand suit.

    Although Qubeka agreed that child pornography should be banned, he argued that Of Good Report is making an indictment. “For teenagers,” he said, “this is a horror film. I want kids, particularly girls, to watch this and I want to scare them.”

    Reflecting on the effects of the ban, he said: “I’m not sad for me. This has turned me into a superstar. My life has changed in a week. I’ve been in Variety magazine… three times. What I am sad for is my nation because my nation was refused the right to see the film.”

    But the ban was soon overturned by the Board’s appeal tribunal and Of Good Report was released in S/African cinemas much later, with a rating of 16VSN. Qubeka was also during the next Durban Film Festival June honoured with an award for artistic bravery.

    To the young Nigerian filmmaker, Qubeka belongs to your demographic. You should know who your real enemies are, and learn to stand for what you believe in. Your limitations to freedom of creative expression won’t be MOPICON. These limitations have existed long before now and will forever exist in any lawful society. They include but not limited to libel, slander, obscenity, pornography, sedition, incitement, fighting words, classified information, copyright violations, non-disclosure agreements, right to privacy, right to be forgotten, political correctness, public security and oppression.

    I bet you have more radical people in the MOPICON review committee than you imagine; people with knowledge of the law, human rights, governance, as well as the wherewithal to defend their creative expressions. Unfortunately, we sometimes confuse youthful exuberance with activism.

  • NOLLYWOOD’S ERA OF NEW OPPORTUNITIES

    Why are they calling us now?” Kunle Afolayan asked during an Access Bank’s breakfast session with filmmakers last Thursday.  The bank is planning to replicate the Bank of Industry (BOI)’s NollyFund, a ‘friendly’ loan scheme for the film industry. Without pretence, they call their own Access NollyFund; but whether or not theirs will stand the test of time, is a matter of time.

    However, the fact is that, like Afolayan further stated at the forum: “It only shows that Nollywood filmmakers are getting it right.” Because gone are the days when no bank wants to touch Nollywood because it does not have the kind of business structures that endear it to investors. Today, even though the structures are still ‘in the works’, especially in the area of distribution and exhibition, there appears to be signs of greater times ahead.

    Another issue which has locked filmmakers in a very interesting debate in the last two weeks is the Motion Picture Council of Nigeria (MOPICON) bill. With a review committee about to be inaugurated by the Minister of Information and Culture, Alhaji Lai Mohammed, this comes across as the beginning of another defining moment for the film industry which, for years has been yearning for a common front.

    Going forward, the fears about the bill being another regulatory agency of government may soon disappear, because from the composition of the review committee, it is obvious that this is simply a practitioners’ council that merely needs government’s legislation for enablement. Yes, MOPICON needs to be enabled to function as a front in the face of the numerous guilds and associations that have robbed the collective of some orderliness and respect.

    It is hoped that with the seriousness of the current regime regarding economic diversification, the industry will articulate its demands through MOPICON. Nollywood still needs so much support from government and, not to speak with one respectable voice is to lower those esteem needs with the usual dissonances.

    While this issue of MOPICON is ongoing, another concern for filmmakers is the Audio-Visual Rights Society (AVRS) which is one of the surest revenue streams for the film industry.

    One only needed to be at the last AVRS Annual General Meeting and election of new Board of Directors to see how stakeholders have decided to take their destiny in their hands.  ‘Everyone’ was present. And I can tell that the membership of AVRS will shoot up in no time.

    Indeed, Copyright Society of Nigeria (COSON), the musicians’ version of the AVRS has opened the eyes of entertainers to some monies that have been wasting away, having distributed about N400million within the last five years of its existence.

    It is hoped that the Bond Emeruwa led new leadership of AVRS will continue to pursue the dreams of its founders and predecessors, perhaps with more vigour.

    I keep remembering November 20, 2014 when the D.G of Nigerian Copyright Commission (NCC), Mr. Afam Ezekude, handed over the certificate of registration to the interim chairman of AVRS, because that date was my birthday. I was glad that an initiative of that nature was so dated, and prayed it continues to be a part of my positive reportage of the film industry.

    Going by Ezekude’s advice during the AGM of AVRS, “the industry must speak in one voice in order to persuade all users of film works to pay royalty for such usage to AVRS,” adding that “for AVRS to earn the support of all stakeholders, it must ensure that its operation is carried out with a high level of integrity.” I cannot agree less.

    No doubt, the industry is sitting on a gold mine, but the fortunes may remain a dangling carrot if members refuse to bond for their common good. Suffice to say that apart from the popular commercial users of audio visual content, such as transmitting and re-transmitting companies, advertising agencies, telecoms companies, hospitals, relaxation spots, luxury bus operators, airlines, banks, super markets and chain retail outlets, and barbing/hairdressing salons, as enumerated by the erstwhile Chairman of AVRS, Mr. Mahmood Ali-Balogun, there exist other channels of revenue that are pending. One of such is the Private Copy Levy, which experts say is capable of generating about N200 million for members monthly, if and when the private copy levy is implemented in Nigeria.

    The levy is compensation for creators and investors in music, movies and literary works for the loss of revenue through free download of works via gadgets such as MP3s, MP4s, Cell phones, memory cards and flash drives, among others.

    Welcome to the world of new opportunities for Nollywood!

  • SHODEX: ANOTHER NAME FOR THE ENVIRONMENT

    THE most important thing about global warming is this. Whether humans are responsible for the bulk of climate change is going to be left to the scientists, but it’s all our responsibility to leave this planet in better shape for the future generations than we found it,” says Mike Huckabee.

    With the global concerns about climate change around the world, some Nigerian governments have evolved pro-active measures to protect humanity from environmental hazards and natural disasters, but need I say that all hands must be on deck if Mike Huckabee’s remark is anything to go by.

    Indeed, at this stage of life, how does one dance for so long a time without dissipating unnecessary energy for rejoicing? How does one avoid the quicksand kind of stage, knowing the stage is as important as the dancer, if not more important. After all, Marlee Matlin reasoned that “the Earth does not belong to us: we belong to the Earth.”

    We may have an inkling of the fact that climate change is a terrible problem that absolutely needs to be solved. Bill gates may have described the situation as deserving of huge priority; Babatunde Raji Fashola may have launched a climate change summit in 2009, however, we need to dig deep and continuously reflect on the threat posed by the increasing world population and attendant use of natural resources.

    How do we do this? knowing that old habit is the greatest threat to the new ways of life we envision, it is pertinent to engage experts’ advice at all times to help in the process of reorientation: governments, through their civil responsibilities – corporate organisations through their CSR, most of which lately, benefit the individual than the society, unfortunately – children and young adults especially, through their lifestyle.

    Need I say that this experts’ advice has helped in shaping actions and policies regarding the Lagos environment such as the Eko Atlantic City project, a measure against sea level rise; tree planting campaign; the creation of gardens, and improved waste management system, among others.

    Undoubtedly, Cross River State has a remarkable green culture that is worthy of emulation. Of particular mention are the activities by the incumbent Governor Ben Ayade who happens to be an environmental scientist. Ayade has demonstrated how important it is to protect the environment by encouraging tree planting, waste management and continuous sensitisation of his people, reason he is adopting ‘Climate Change’ as the theme of the annual Carnival Calabar and Festival back-to-back.

    The Cross River State helmsman believes that it is not enough for a government to manage crises such as deaths and sicknesses, but it is more important to prevent them so as to reduce the mortality rate. “The only essence of life is enjoyment and once you take away happiness from a man, you have taken away the reason to live,” he said.

    The challenge is more for a mega-city like Lagos which is said to generate 10,000 tons of waste every day, with 70 percent being organic waste. Isn’t this one of the reasons the mortality rate appears high when we consider how long our parents live in the villages? I believe that one can indeed enjoy the best variety of life in a mega-city, taking into cognizance, among other things, the climate change; a phenomenon that has the power to define the success or failure of man’s socio-economic and political being.

    Interestingly, another environmental scientist that I know happens to be Mr. Olusola Adekoya, owner of Shodex Garden, who is using the occasion of his 54th birthday to donate trees and clean up Greenland Estate, Maryland, Lagos through the Nature Protection and Environmental Improvement Initiative (NAPEIIN).

    Prior to his birthday, school children who visit his garden on excursion are usually given trees to plant at home; what a best way to start a ‘revolution’. But perhaps the surprise for me was that when Shodex invited me and a few friends for his birthday, the last thing I expected was a formal occasion where we had to listen to talk on Waste Management and Climate Change from two experts. And that ends it. No music, no ceremonies. But I did gain some knowledge that the rice and stew he didn’t offer at the event.

    “Birthdays are wonderful days of celebration. For some, it’s a day to be celebrated, while for others it’s a day to give back.

    “I am of the opinion that we should always give back to the environment at every opportunity…

    “I want to use this opportunity to add value to all those who are around me and what better way to start than from my immediate surroundings. I will be leading a team that will consist of our N.G.O (NAPEIIN) and my friends and family to clean Greenland Estate in Mende, and I will also be donating trees to help combat climate change and contribute my quota to making a paradise of our once so beautiful earth.

    “Rather than host a party, I will want all my well-wishers to join me as we get our hands dirty, so our children can enjoy a clean earth,” he said.

  • P-SQUARE: MUST 20 BOYS PLAY FOR 20 YEARS?

    THERE’RE so much sentimental reactions to the reported separation of twin brothers and performing partners, Peter and Paul of P-Square fame, that I think that people should just let them live their lives and career apart rather than speculating doom.

    As divine as the family institution is, the worse person to do business with could be your relation. People who have a stake in your life don’t usually want you to say NO. They usually have an over-bloated image about themselves. This is detrimental because business and relationship don’t mix without one hurting the other.

    If you ask me, it would be a refresher to have Peter and Paul come together just once in a while for Collabos and stage performances. This will also open their minds to doing stuff with other artistes.

    Ever heard that two rams cannot drink from the same bucket without locking horns? That is the situation here because people are bound to have contrary opinion, but when yours is different from that of your boss, the boss’ decision takes predominance. Have we ever asked who was the boss between Peter and Paul? These guys must have been tolerating themselves all these years and there just comes a time, as painful as it may be, there must be a ‘parting’. Even conjoined twins would attempt to move in different directions.

    There is that psychological slavery that makes you want to break away. Even if your action turns out regrettable, you have satisfied a part of you that was yearning for freedom. If you choose go back to ‘prison’, it is because there is something in the outside world that chocks despite its space. After all, didn’t the late Fela Anikulapo-Kuti refer to the outer space as ‘craze world’ in his song, Beast of No Nation?

    You could decide to stay indoors for days feeling real good with yourself, but when you are holed up against your will just for hours, you’d think the horror has lasted a month.

    People have remained perpetually pained in ‘not working’ marriages and have paid the consequences with their lives.

    Fans of P-Square who are ‘killing’ themselves for nothing should take solace in the Yoruba proverb: Okere l’omo iya dun mo (siblings are best at their relationship when far apart). I didn’t invent it, our fore fathers did, out of life experiences.  People should not force people into a relationship. There is a time to desire one and a time to let go, even if the popular saying that ’20 boys cannot play for 20 years’ does not come to play.

    Imagine people trying to force D’banj and Don Jazzy to come back together. The train had since passed that terminal and things can never be the same again. Yes, Oju apa k’ole da bi oju ara (scars do defile the skin permanently).

    In the history of musical relationships all over the world, groups are known to have gone their separate ways, giving redefinition to their music and fan base. Talk of Nigeria’s KceePresh, Zulezoo, Plantashun Boiz, Remedies, Kush, Ofege, and foreign groups such as the Beatles, Supreme, Michael Jackson, Shalamar, Destiny’s Child, ABBA, Bob Marley and the Wailers, etcetera.

    Let’s just say that the late mother of P-Square had tried her bit to keep them together in spite of their different temperament, styles and choices. But what do you expect of a mother, if not for her kids to be together and never ever

    pick a quarrel with themselves? We must understand that people are wired differently, making misunderstandings and quarrels so imminent in any relationship. In fact, misunderstandings are what define a relationship. A bed-of-roses relationship could be more prone to danger because expectation has been built to perhaps unrealistic level, and usually, like a combustible, the explosion is usually catastrophic. It is not my place to judge these brothers, but I am taken any day by people who express themselves no matter whose ox is gored. Peter does express himself. Ever heard of silent killers? These are usually people who bottle so much in them.

    What is it that makes P-Square’s case different? Is it because they are blood brothers, and is that a reason Jude must remain their manager forever? Is it a birth-right? For all I care, the Okoyes’ blood isn’t any thicker than that of others who have sacked their relations from their personal businesses. Now, which could be more emotional; sacking one’s brother or sacking one’s dad? Well, Beyonce sacked her dad from being her manager and heaven did not fall.

    Perhaps Peter and Paul are never destined to be wealthy in equal proportion and one of them had been feeding fat on the other. The reality of the situation may just reveal who between them had been living on borrowed time.

    Beyond the crisis that has triggered this separation, these guys may just be on the path of self-discovery which is not a bad idea. The soothing effect of such is immeasurable. Check this out: A rich man in American suddenly discovered that his dad is from a country in Africa, where people supposedly live on trees, yet he was on the next available flight to Africa. You just must know who you are. Odewale said in Ola Rotimi’s The Gods Are Not To Blame that he may be of lowly birth; he sure wants to know his true identity. It was a sad discovery but he knew it would make him rest well in the grace. You can’t understand this irony of life.

    On the other hand, if we are talking about Peter’s protest against their elder brother, Jude Okoye, being manager of the group further, such has happened to other ‘prophets’ before them.

    Recall that three years ago, Beyonce sacked her dad, Matthew Knowles when she heard he was cheating on her mom. At some point, Michael Jackson also had to ease his father off his management company. What about Nigerian artiste, Burna Boy who stopped his mother from managing his career any further in 2014? Perhaps of more interest is his American counterpart, Usher who fired his mother in 2007 after he married Tameka Foster, then rehired her in 2008 when his marriage crashed, and then sacked her again in 2009 when he started dating Grace Miguel.

    Recall also that Selena Gomez had also fired her mother and stepfather who were her managers at some point, while Nigeria’s Tiwa Savage dropped her husband, Tee Billz from being her manager barely five months into their marriage.

    Now this one was even crazier. American singer, Leann Rimes not only sacked her dad, Wilbur Rimes, in year 2000, she also dragged him to court for stealing her money.

    I encourage Peter and Paul to move as the spirit leads. Whatever spirit it is, I don’t know.

  • OGD’s Val note to Kunle Afolayan

    IN these times of opinionated letters to the National Assembly, the President, and other decision makers, veteran filmmaker Tade Ogidan’s thoughts about Kunle Afolayan was conveyed in a short letter that spoke volumes. Coming in the month of Valentine, it comes across as a love letter, frankly written after sleeping over its subject matter.

    To grasp Ogidan’s simplicity and positive disposition for young and creative entrepreneurs, one needs to follow Teju Babyface’s show. You cannot but smile to how Teju throws pleasant jibes at the man who gave him his first movie role in the 1998 film, Diamond Ring.  Even as the producer of the Teju Babyface Show, Teju would often say cynically: “Tade Ogidan is my boy”  –  it just shows how a father makes his children his friends.

    I’m motivated to write this about the man many people call OGD. Although he does not know me closely, I find his life and style motivating, especially in the Nollywood space where even ‘veteran’ filmmakers see their younger colleagues (described in some quarters as the New Nollywood) as their rivals. Interestingly, it is like that for ace cinematographer, Tunde Kelani whom Afolayan often refers to as a mentor. Suffice to say that a victory for the young Afolayan is a victory for Kelani and Ogidan, and perhaps other veterans, who may choose to see the former as one of the princes of the Nigerian filmmakers’ large family.

    I first got a hint of Ogidan’s fondness for Afolayan after the younger filmmaker inked a deal with Air France as a Brand Ambassador. OGD was so excited for Kunle, that he didn’t just call to congratulate the young man, but staged a surprise soiree at his Surulere home, inviting other celebrities to a cake cutting event, where they toasted the feat recorded by this son of the legendary ‘Ade Love’.

    The cake came in white and sky blue, bearing Afolayan’s picture, and on it was written: ‘Kunle Afolayan, Tade celebrates you’. That, I believe was for his award-winning films, including Irapada, Figurine, Phone Swap, and October 1.

    Fast forward to Thursday, February 4, 2016, after seeing the rough cuts of The CEO; Afolayan’s latest work, ODG wrote a love letter, full of prayers and a personal endorsement of the young filmmaker.

    He started on a comical note, obviously appreciative of the previous day’s camaraderie and sharing of a local meal: “…thank you for the lovely Amala meal that you treated us to. I just must not forget that one,” he said in a short message.

    “I woke up quite excited about the story-telling strength, and the creative and technical qualities in the CEO movie. You have done your dad proud with each new project. You have done your family proud. You have done your industry proud. You have done your fore bearers in the film industry proud. You will do your nation, and the rest of Africa proud, especially with this new project; CEO. I am sincerely proud of you.

    “You are now like a bull that has charged into a chinaware shop of film obstacles. You demolish all the myths, fears, and film making challenges with insane daring, grit, and unstoppable determination. Now, that is good. God will always make all good things doable for you.”

    Afolayan recently released the trailer of The CEO, kicking off promotions for the Pan-African movie.

    The trailer carries punchy snippets of the movie scenes from different African countries, including Paris, France, where the film pooled its cast.

    The CEO is Afolayan’s biggest movie yet, with part funding of N50 million as loan from the much publicised Bank of Industry’s NollyFund.

    With the 2min:30sec trailer, first released on Channels TV website, views and downloads had, within 12 hours, hit a million mark on YouTube,  Facebook, and other social media platforms, an indication of fans’ eagerness for the cross cultural movie.

    The CEO is coming on the heels of October 1, Afolayan’s psychological thriller, and his fourth effort after Irapada, Figurine, and Phone Swap.

    Interestingly, a Cote d’Ivoirean cinema is yearning for a July 2016 release date, and has sent their terms, coming from the country’s popular distributors, Majestic Cinemas. Afolayan revealed that the film, which will be ready before the end of February will be distributed in Nigeria by Silverbird Cinema, just as it is also targeting South Africa’s over 50 cinemas, and other African countries. He added that preparations are on ground for massive festival routing beginning from the first quarter of this year.

    Just like OGD, I am enthralled by this feat, and convinced that Afolayan will go places. Yet I am motivated by Tade Ogidan’s show of love, and wish that other Nollywood veterans will show the younger ones similar love, send them words of encouragement, and consider their films as a Nigerian project.

    Coming from a man who has done so well himself in the movie industry, this action spells humility – how many Nigerian films can compete with OGD’s Owo Blow (1997), Out of Bounds (1997), Hostages (1998), Diamond Ring (1998), Saving Alero (2001), Ayomida (2003), Playing games (2012), Dangerous Twins (2004), Aya mi òwòn: Madam Dearest (2005) and Family on Fire (2011)?