Young and talented filmmaker Ema Edosio Deelen made her debut with the movie ‘Kasala’ which has been getting rave reviews. In this interview with JOE AGBRO JR, the US-trained cinematographer talks about her movie journey. Excerpts
HOW does it feel like to start in filmmaking and gain acclaim with the coming out of your film, ‘Kasala’?
I started in 2006. It’s been a while since I’ve been in the industry. I worked my way from a production assistant to become a director. And to finally have myself made has been an immense pleasure for me and one that I’m very excited about for the future.
Kasala is about hustling. What informed the storyline of the movie?
I wanted to make a film about young people in Nigeria. I wanted to make a film that showed what it means to live and exist in Lagos, to live and exist in Nigeria. And the best way I felt it would be shown is through the eyes of four young men who have less than six hours to raise N20, 000 to fix a car they stole. So, I really wanted to show the streets of Lagos. I really wanted to show the spirit of Lagosians, the spirit of Africa and our tenacity through the journey of these boys trying to raise this money and that is the reason why I made ‘Kasala’.
Prior to the coming out of this movie, you were relatively unknown. Can you tell us a little bit about growing up?
I’m from a family of seven. My father is an architect and my mum was a lawyer. My mum passed away in 2007. I schooled in Nigeria, had my primary, secondary in Lagos and my university, I went to Ogun State university and studied computer science but discovered my passion for filmmaking and I went back to film school to the New York Film Academy for a course in digital filmmaking and then went on to Michigan (US) Motion Pictures Institute of Michigan to study cinematography and directing for one year. I came back to Nigeria and I worked for EbonyLife TV, created series and some movies for them but decided that I really wanted to make a film that had my own voice and that was the reason why I mad ‘Kasala.’ I also worked as video journalist for BBC. After ‘Kasala’, I left the BBC.
It was after ‘Kasala’ tthat you left the BBC
Yes. I started filming ‘Kasala’ in 2017. It was releasedin February 2018. But I oined the BBC in November and left April 2018 because ‘Kasala’ started getting a lot of popularity, a lot of great reviews and I wanted to focus on filmmaking as my career.
For someone that studied filmmaking abroad, when you look at Nollywood, are you able to practice the kind of things you learnt at film school within the Nollywood space?
With the skills I have, it doesn’t stop me from putting it into my own passion for my work and going forward. This is the template that I choose to have. And I think that a lot of Nollywood practitioners have began to see the need for higher production value. And the quality of films in Nigeria are getting better. So I would say that we’re still in a growing industry and I would say that with the kind of works coming out, with ‘Kasala’, with ‘Isoken’, ‘King of Boys’, I see we would soon start seeing a trend of well-made films and I’m very excited for the future of Nollywood.
Considering your movie talks about beating the struggle. How do you see the reality on ground?
It’s not necessarily make-believe. One of the things that I noticed, especially during my time with the BBC and making documentaries is that even though things are falling apart in Nigeria with a lot people, we have sort of found a coping mechanism to make us happy. And a lot of movies being shown about people in slums or low-income areas of Nigeria were represented as sad and suffering but if you go into these areas, these people have formed a support structure that makes them happy. If you search deeply, we’re a country that a lot of people should have failed but you still see Nigerians still proud and fighting for their dreams and fighting to survive. And I think that this element is the core of my film and I think this is a representation of what it means to live in Nigeria.
You once worked with Clarence Peters directing music videos
I did not direct with Clarence Peters. I worked as one of his personal assistants. Clarence is someone I really respect and he has very clear visions of his projects.
How did that experience help in making movies?
Clarence Peters is someone that I will forever respect, someone who took me in when I was very young in the industry. And that experience has sharpened me as a filmmaker in the sense that I got to see first-hand work ethics from a very hardworking person. He would shoot from morning to night, come back into the studio in the middle of the night or early in the morning, sit with his footage. By the time you wake up, while everybody, we’ve all gone to sleep and tired, he’s still sitting there and the music video is ready. So, I learnt work ethics, I learnt creativity, I learnt how to be proactive from Clarence. That experience shaped my life as a filmmaker. I produced, I directed, I shot, I edited this film. And if I hadn’t had a mentor who I saw produce amazing works, I wouldn’t believe it would have been possible for me. To be able to create the best work, I’ve learnt to be good in every aspect of filmmaking and I learnt it from Clarence Peters. And it’s an experience I’ll be forever be grateful for.
So, who are your other mentors in Nollywood?
People that I look up to are people that have actually supported me in the industry. There’s Mo Abudu who has given me a platform to be able to stand out and make film. There is Tope Oshin who had always been there. She’s always been advising and encouraging me and other filmmakers. There is Ayo Banjo who is an editor who taught me editing. There are so many people and I don’t want some people to be left out.
Where did you get the fire to be able to make such impact despite being new in Nollywood?
Coming from a Delta family, you had your life structured out for you. I was to become a nurse (but) I said no. The next thing was to become a computer scientist. So, I had my life structured until I started seeing new Nigerian content on TV – like P Square’s early videos, I was fascinated by them. And it was curiosity that drew me into filmmaking. And with that curiosity, I think it has given me that platform to express myself. I’m a very visual person. Who knew what filmmaking was in 96 when you were filling your JAMB form?
You studied computer science but now known as a filmmaker. Does filmmaking pay the bills? If not, what other things do you do to make ends meet?
Filmmaking is very jealous. If you want to do filmmaking, there is no, ‘I have a side business.’ I went into filmmaking without looking back and I said ‘this is what I want to do.’
Aside ‘Kasala’, what other projects have you done?
I created three series for EbonyLife TV. I did my first film, ‘Heaven’ with EbonyLife TV. I did another film with them, From Within.’ I made a series called ‘Friend Zone.’ Then, I directed one of their biggest series, ‘The Governor.’ I made a series for Ndani TV, ‘Gidi Girl in Transit.’ I directed a Bank of Industry funded film called ‘Roberta.’ I just did a series for EbonyLife called ‘MMM.’
What part of the country are you from?
I’m from Delta, Isoko.
Are you looking at doing films in local languages?
Definitely. ‘Kasala’ was strictly Pidgin English. My films are based on characters from my documentary world. And I’m very drawn to stories that are a bit unusual or a bit about the middle class or low class Nigerians. English sometimes doesn’t work. It’s either pidgin or the local language.
How old are you?
I’m 33 years old
Are you single, married or divorce?
I’m married.
How have you been coping in the male dominated Nollywood industry?
I’ve been very fortunate to have been mentored by some of the best in the industry and these people happen to be men. It was the men who saw my passion and gave me a chance. So, I’ve been very focused on my work, very focused on being one of the best to come out of this continent. And this is the currency that everyone respects and everyone values – hard work and passion. And I never had a problem with anybody because they are the ones that even open the door for me.
And they have taught me. I have become who I am because they let me into their world and they mentored me. I make sure that I’m not a woman in the eyes of everybody. I had to work with all-men crew growing up in the industry and in their eyes, I’m not a woman. I’m part of the team. Everybody respects people that are passionate and people that would not compromise. And I don’t want to be considered as a woman in the industry. I’m as good as the men in the industry.
So, what new thing is Ema Edosio working on?
At the moment, I’m in pre-production for my next film, ‘Emi’, which is a Yoruba word for ‘spirit.’ I’m very very excited about it. It should be released by middle of next year.