The Nation Newspaper

Tag: filmmaker

  • TOPE EBIKUAJU: I chose filmmaking instead of fraud

    A young Nollywood filmmaker, Tope Ebikuaju, has said that filmmaking has taken away from some negative influences.

    “When I left school, I told myself that I needed to do something that is not fraudulent,” said the 22 year old film producer who has three works (‘In The Deep,’ ‘Final Judgment’ and ‘Flashpoint’) in his kitty so far.

    “I wanted to make money with my talent, so I opted for films. It was not easy at the initial stage but you know that talent does not hide. One thing I like about Nollywood is that if you tarry, someone will identify your talent and give you the platform to showcase it. In my case, it was Obi Madubogwu, and today in a short while, I have movies people are impressed with. Some of my mates found favour in yahoo-yahoo, but I chose to make films instead. And everyone is proud of me for that.”

    Ebikuaju who has lived in both Lagos and Ondo states also said his environments have been impactful on his growing career and fuelled his creative mind.

    “I usually tell people that one’s experiences influence the choice of movies one makes,” said Ebikuaju.

    “The experience could come from literary works or even physical encounters. For me the experiences in Lagos and Ondo have been helpful. A fertile mind will always see ingredients to prepare his works from those.”

    And Ebikuaju has a piece of advice for his fellow young Nigerians.

    “I will urge them to channel their creative energies to filmmaking rather than internet fraud.”

  • Alleged fraud: Filmmaker Egbegbe to remain in prison

    Alleged fraud: Filmmaker Egbegbe to remain in prison

    A filmmaker, Seun Egbegbe, will remain in prison until Tuesday next week because the Federal High Court in Lagos could not hear his bail application Wednesday.

    The Police Special Fraud Unit last Friday arraigned Egbegbe (also known as Olajide Kazeem), for alleged serial fraud involving N39, 098,100, $90,000 and £12,550.

    He was arraigned on 36 counts with Oyekan Ayomide, with whom he allegedly conspired to perpetrate the fraud between 2015 and this year. They were accused of defrauding Bureau De Change (BDC) operators.

    Defence counsel Miss. A. O. Gbadamoshi said she completed the process of filing the bail applications on Tuesday.

    Police prosecutor Innocent Anyigor said he was unable to file a counter to the applications as he was served yesterday, adding that he needed time to respond.

    Justice Oluremi Oguntoyinbo ordered that the defendants remain in prison custody until their bail applications are heard on Tuesday.

    The defendants allegedly defrauded no fewer than 30 Bureau de Change operators in Lagos between 2015 and February, mostly by falsely representing to the victims they had foreign currencies to sell to the BDC operators.

    The police alleged, for instance, that on February 2, 2017, Egbegbe and Ayomide fraudulently obtained the sums of N2.45m and £, 3,000 from one Alhaji Isa Adamu in Lagos under the guise that they wanted to see the naira and buy the pounds.

    The other victims of the alleged frauds by Egbede are Mohammed Sanni, who was allegedly defrauded of N2.46m on 2017 New Year day; Jubrila Ado, allegedly defrauded of N1.257m on September 9, 2016; Hassan Amodu, allegedly defrauded of N600,000 in January 2016; Sanni Hassan, defrauded off N1.43 and £2,750 in August 2015; Saidi Abdullahi, defrauded of N700,000 on April 18, 2016; Atairu Abdullaahi, defrauded of N1m on June 23, 2016; and Abdullahi Babadisa, defrauded of N650,000 in January 2016.

    Others are Abdurawan Hassan who allegedly lost N1.46m to Egbede on January 1, 2017; Suraju Garuba, who lost N850, 000 in July 2016; Abdullahi Mumini, who lost N2.15m in September 2016; Garuba Hassan, who lost N700, 000 on January 10, 2016 and Sanni Mohammed, who lost N1.89m on January 29, 2017.

    Also allegedly swindled by Egbegbe are Barowo Abdullahi, who lost N2.6m; Yahu Alidu, who lost N1.75m; Tairu Musa, who lost N2m; Mohammed Bello, who lost $300; Mohammed Usman, N450,500; Suleiman Shehu, who lost N1.276m; Ahmadu Abda, who lost N2m; Nairu Musa, who lost N1.007m; Sanni Mohammed, who lost N1.6m and $3,000.

    Others are Umaru Haruna, who lost N1.7m; Abubakar Musa, who lost $4,000; Abdulrasaq Sanni, who lost N1.7m; Abdullahi Babatunde, who lost N2.77m; among others.

    The police said the offence is contrary to Section 8 of the Advance Fee Fraud and Other Related Offences Act 2006 and were liable to be punished under Section 1(3) of the same.

    Egbede and Ayomide pleaded not guilty.

    Their trial will begin on March 10.

     

  • Movie producer Seun Egbegbe arrested for alleged fraud

    Movie producer Seun Egbegbe arrested for alleged fraud

    Less than two months after he was almost lynched at Computer Village, Ikeja for allegedly stealing Iphones, filmmaker, Seun Egbegbe Thursday landed in another trouble.

    He was arrested by policemen from the Area H command for allegedly defrauding some Bureau De Change (BDC) operators of about N10 million at Gbagada.

    Egbegbe was remanded in prison custody by an Ikeja Magistrates’ Court on a count charge of stealing, under Section 278 of the Criminal Law of Lagos State, 2011.

    The producer who was later granted bail of one million Naira, with two responsible sureties in like sum, traveled abroad last month and returned recently.

    With his previous trial adjourned to February 18, Egbegbe, it was gathered went to Gbagada with some of his friends under the guise that he wanted to change some dollars.

    Witnesses who took to social media to share information on the incident claimed the producer lied that he was a medical doctor at Gbagada General Hospital, asking the BDC operator to come there for his money later.

    But when he was unable to provide an identity card to support his claim, the operator was said to have raised an alarm, attracting others who had him beaten before handing him over to the police.

    Efforts to get comments from the spokesperson for the state command, Dolapo Badmos, a Superintendent of Police (SP) failed at the time of filing this report.

     

  • FAMILY REMEMBERS VETERAN YORUBA FILMMAKER, ADE LOVE 20 YEARS AFTER DEMISE

    AS the Nigerian motion picture industry, otherwise called Nollywood, moves towards renaissance, there are occasional look backs to the pioneers of the industry who, though held sway through the travelling theatre model, have remained relevant despite today’s digital technology.

    One of these legendary filmmakers is the late Adeyemi Josiah Afolayan, popularly called Ade Love, an astute filmmaker whose style of story-telling attracted a wide range of fan base, who cherished how romance and music were woven into folktales, political satires, family centric and other forms of drama that appealed to the young and the young at heart.

    It will be 20 years this December 30, when the legendary filmmaker passed on, and in celebration of his memory, his offspring, most of who are in the entertainment industry are putting together a week of activities that will not only bring veteran film personalities from the days of the Yoruba travelling theatre under one roof, but spark new debate on the old and new ways of storytelling.

    At the forefront of the event is Kunle Afolayan, who is regarded as the poster boy of today’s Nigerian film industry called Nollywood.

    The young Afolayan revealed that the event, in honour of their late father, will host distinguished guests in the society, actors, and other film industry stakeholders on Thursday, December 15, at the National Theatre, Iganmu, Lagos.

    The Nation gathered that a documentary on the life and times of the legend is in the making, featuring some of his contemporaries like Lere Paimo, aka Eda Onile Ola, Mr. Jimoh Aliu, Mr. Olu Omojola, Moremi Duro Ladipo, Chief Eddie Ugbomah, Dr. Ola Balogun, Professor Adebayo Faleti, Kareem Adepoju, aka Baba Wande, Wole Olowo Moju Ore, aka Baba Gebu, Chief Elebuibon and Mr. Victor Ashaolu among several others.

    “In the spirit and essence of the celebration of his works, there will be an official premiere of Ade Love’s film, Kadara (Destiny) after 36 years of its initial release,” Kunle Afolayan revealed.

    Also in the line-up for what they call the Ade Love Week, which is intended to make this Yuletide season more memorable, young Afolayan disclosed that “there will be daily screenings of ‘Kadara’, ‘Taxi Driver’ 1 and 2 at the National Theatre, Iganmu, Lagos, the Lagos Airport Hotel, Ikeja, Silverbird Cinemas, Film House, Genesis Deluxe, Kada, Viva and other cinemas across the country.”

    Described as an uncompromising titan of theatre and Nigerian cinema, Ade Love’s movies provided a homely alternative in the Southwest, to the then popular Indian films in the country. A fan of Indian films himself, the filmmaker remixed some Indian movie songs in Yoruba language, giving them some creative and communicative appeal.

    Born in Igbomina, Kwara State in 1940, the actor, dramatist, film director and producer obtained a Diploma in Secretarial Studies and Performing Arts from at the University of Ibadan. He was a force to reckon with among his contemporaries in the film industry, making newspaper headlines between 1976 and 1996 when he passed on. He is today, remembered for about eight films, some of them, classics, that earned him the celebrity toga. They include ‘Ajani Ogun’ (1976), ‘Ija Ominira’ (1978), ‘Taxi Driver’ (1983) ‘Eyin Oku’ (1992), ‘Kadara’ (1980).

    Like King Sunny Ade (K.S.A), Ade Love had a stint with versatile entertainer, Moses Olaiya, during his early days as a stage performer.

    A visionary entertainer, Ade Love first saw the opportunities in filmmaking when he acted in Dr. Ola Balogun’s film, ‘Ajani Ogun’ in 1976, also featuring Duro Ladipo, as a lead actor. Two years after, he shot his first film, ‘Ija Ominira’, directed by Ola Balogun. Indeed, it was Ade Love’s incursion into filmmaking that inspired his former master, Baba Sala to up his act as a stage performer to a filmmaker.

    Ade Love who started filmmaking before Hubert Ogunde and Baba Sala recorded the highest number of celluloid films in Yoruba. He was also the most travelled Yoruba filmmaker whose films represented Nigeria at major film festivals in the world.

    A very busy filmmaker, Ade Love, at the peak of his career had embraced commercial filmmaking and festival routing which kept him away from his family most of the times, traveling around Africa and beyond. Some of those festivals that featured his films include Rotterdam Film Festival and the BFI London Film Festival.

    Apart from his great works, Ade Love’s legacy has also been kept aglow by some of his children who now embrace different genres of entertainment such as acting, music and filmmaking. Among them is Kunle, an award-winning filmmaker, Gabriel, an actor and singer, Moji, a notable actress and Aremu, an actor and producer. The late Afolayan’s sister, Toyin has also been relevant on the scene.

    Ade Love passed on December 30, 1996 as a Christian, after suffering stroke twice.

  • Ovations as Amenechi steps down as film directors president

    Ovations as Amenechi steps down as film directors president

    • Amata, Imasuen, Omoefe, Iroegbu lock horns in presidential debate

    To set the stage for the election of  a new president of Directors Guild of Nigeria, DGN, filmmaker, Andy Amenechi,  Thursday night,  passed the baton to an electoral body that took over the tension-filled atmosphere that has four candidates, jostling for the presidency of the Guild for the next two years

    Delegates had gathered for three days at the popular Tourist Resort Hotel & Suites, Asaba,  Delta State, for the voting exercise which was preceeded by an Annual General Meeting, Unveiling of DGN Electoral Committee (DGNEC) members and manifestos on Thursday.

    Film

     

    The aspirants are seeking votes into offices such as Welfare, PRO, National Secretary, Director of Finance and Assistant Secretary General. While other offices fielded officers who are unopposed, the welfare office is being contested by Prince Isaac Kola and Dan Chukwueze; the vice presidential position between Mike Ogundu and Okey Zubelu, while the presidency is among four notable filmmakers; Fred Amata, Lancelot Imasuen, Dickson Iroegbu and Kingsley Omoefe.

    For the presidential candidates, it was not just a manifesto night but a debate,  hinged on questions that were answered by each candidate within two minutes.

    Who wins DGN presidency? Will the soft-spoken and  brilliance of Kingsley Omoefe do it for him?  Will it be the jolly good follow, Fred Amata who had contested two times in the past?  What about the articulate ‘returnee’, Dickson Iroegbu or the ever-busy and expressionate filmmaker,  Lancelot Oduwa Imasuen?

    While some delegates would have pitched their tent of loyalty with their candidates based on ‘indebtedness’ , others,  it appears will vote their conscience on the ground of conviction and performances during the manifestos and debate sessions.

    What will the disposition of each candidate be should he lose the election?

    Dickson : I will not lead DGN by proxy.

    Imasuen : I will not abandon a child I was part of his conception.

    Omoefe: Well will work together no matter what.

    Amata : The four of us will come together to move the Guild forward.

  • Animation filmmaker Ebele Okoye goes feature

    Animation filmmaker Ebele Okoye goes feature

    From The Lunatic which she made in 2008, to The Legacy of Rubies, a Germany/Nigeria/USA production produced last year, Nigerian animation filmmaker, Ebele Okoye, is moving on, satisfactorily, from short films into a feature length production.

    Okoye who first won the Africa Movie Academy Awards (AMAA) prize in 2008 for her film, The Lunatic, continued her exploit in 2015 with another AMAA prize for The Legacy of Rubies, a short which also won her the animation laurel category at the Africa International Film Festival (AFRIFF) last November.

    Asked what further plans she has for the The Legacy of Rubies, Okoye noted that although the film is still open for acquisition and distribution, her major focus is now on the feature animation film, which she wouldn’t disclose its title just yet.

    She however revealed that it is “a 60 minutes 2D animation set in a fantasy planet rich with the rare mineral ‘Atumi’, inhabited by two warring species and controlled by the mystical sacred eagle,” adding that, “… it is like Chronicles of Narnia and Pocahontas put together.”

    According to the leading African animation entrepreneur, with the emphasis on bridging the cultural gap between Africa and the rest of the world through productions, the feature which will be produced by Shrinkfish Ltd Abuja, Nigeria, will predominantly have an African team.Reacting to fact that African resources are hardly made available for animation production, Okoye hinted that she is exploring co-productions opportunities with other countries, just as she is very positive that 2016 will bring a remarkable change in the face of African animation.

    She disclosed that although she was seven years old when she knew she wanted to become an animation filmmaker, it took her about 30 years before she could realise her dream.

    Interestingly, from the moment The Legacy of Rubies’ script was finished, ARTE, the biggest cultural channel of Europe acquired the first screening rights for the film.

    The film which was part of the Focus Features Africa First Short Film Programme also boasts to be the first ever Nigerian/German Animation co-production. In a short festival run period after production, “Rubies” has also won the best Animation at the Silicon Valley African Film Festival (SVAFF), while The Lunatic also made history in 2008 as the first ever Animation to be entered for the AMAAs.

    Okoye has been active as an independent animator since 2006, consistently pushing animation both in Europe and Africa. Within and outside of the film festival constellations, her works in Animation have also received prizes such as ”The Robert Bosch Promotional Prize for Animation” for the self led German/Bulgarian co-production “Anna Blume” which won numerous prizes including the Ritter Sport Award at the 2010 Zebra Poetry Film Festival; “The DEFA research prize for animation”, for a co-operation between Germany and Estonia; ”Recognition for outstanding media work in human rights issues” by “Redefreiheit”, an arm of Amnesty International and “Certificate of special recognition of outstanding service” by the United States Congress. This was also given twice by the California State Legislature.

    Founder and CEO of Shrinkfish Media Lab (smedLAB), an audio visual training initiative for talents from the Sub Saharan African region, Okoye also founded The Animation Club Africa, dedicated to Animation coaching and mentoring.

  • ‘93 DAYS’ NOT BIOPIC OF LATE STELLA ADADEVOH, SAYS FILMMAKER

    IN his reaction to claim by one Dr Anna Adadevoh that 93 Days, a film by Steve Gukas on the deadly Ebola virus, is a misrepresentation of facts, the filmmaker said the allegations are false and malicious.

    Gukas who said the claims were a calculated attempt to sabotage the film, maintained that “93 Days is not the biopic of anyone individual and has never claimed to be the story of Doctor Stella Adadevoh.”

    In a letter dated January 3, 2016, Anna Adadevoh, on behalf of the Cardoso and Adadevoh families said they are distancing themselves from the movie purportedly dedicated to late Dr.Ameyo,  as it is a misrepresentation of the sacrifice the late Dr Adadevoh paid with her life. They also frowned against the producer’s going into the personal medical file of the deceased doctor.

    Gukas maintained that contrary to the allegations by Dr Anna Adadevoh, his production company had enlisted the help of the Adadevoh and Cardoso families from day one.

    “They gave their comments on the script and their amendments were incorporated into the final script. Further, the late Stella Adadevoh’s son, Bankole Cardoso, consented to the making of the film and to being portrayed in the film. Not only did he consent, he was kind enough to provide us with information concerning his late mother’s actions during those trying times. The facts provided by him proved useful in the development of the script and we have his interview on film should anyone require further proof. In essence, the story of Dr Stella Adadevoh depicted in the film was obtained partly from facts provided to us by the Adadevoh and Cardoso families and more importantly by her son, Bankole Cardoso.”

    Gukas, however, said that the story is not all about Adadevoh, but one that celebrates many of the heroes of the fight against Ebola. “These include the doctors, nurses and staff of First Consultant’s Hospital, the employees of the Lagos State and Federal Ministries of Health, Members of the Emergency Operations Centre(EOC), corporate and individual Nigerians who rose to the challenge of fighting the scourge as well as the WHO team that came in to help at the risk of personal injury and even death,” he said.

    According to the filmmaker, his company does not require anyone’s consent to make the film since it has a constitutionally guaranteed right to freedom of speech and expression.

    “For us, this presented a more universal story of human courage, dedication and sacrifice that may inspire our great country and its people. Ours is a pride story that shows Nigeria at one of its finest hours and casts our country in a positive light around the world. To ensure the universal appeal of the film, we enlisted, at great cost, Nigerian and International actors to feature in the film. Amongst these were Danny Glover, Keppy Ekpeyong and Bimbo Akintola,” said the filmmaker.

    Gukas also said the matters portrayed in the film were derived from facts that are well within the public domain, while others were provided by those privy to the said facts. “For instance, we obtained additional information from interviews with the survivors of those who lost loved ones, volunteer doctors and nurses as well as officials of the Lagos State Ministry of Health.

    “To honour those protagonists of the Ebola story, it was essential for us that the film be, as much as possible, an accurate, genuine and sincere record of the facts relating to the country’s efforts to fight the disease. Infact, that was the only way of doing justice to those brave individuals (and foreigners) who had given so much in the service of the country…”

    He said he is aware that Dr Anna Adadevoh and others within the family are involved in another film project on the Ebola story and as such are attempting to derail 93 Days in the misguided belief that to do so would ensure the success of their film.

    “It is plainly wrong for these people to try and monopolize the Ebola story exclusively for themselves by trying to prevent the making and release of a film that so many of the people concerned have supported and contributed to.

    “Our film features many of the people who were in the vanguard of the fight against the terrible disease. Many of these people lost loved ones and made other sacrifices still unknown to a majority of Nigerians.  They have supported the film and want their story told and it is only fair that their stories are told,” he said.

  • Bank of Industry visits filmmaker on set

    Bank of Industry visits filmmaker on set

    Having financed top film projects such as Biyi Bandele’s Half of a Yellow Sun, Michelle Bello’s Flower Girl and Kunle Afolayan’s The CEO, the next indication of Bank of Industry (BOI)’s support for Nollywood has emerged in Queen Amina, a period story of the legendary Hausa Muslim warrior queen of Zazzau.

    Top officers of the Bank; Mrs. Cynthia Nwuka, Group Head, Creative Industry and Mr. Okey Madu, Assistant Manager were, last weekend, at Shere, a desert and current set of the movie located in Jos, Plateau State, where more than 200 cast and crew members were shooting a war scene that exemplifies one of the travails of the historical queen, played by Lucy Ameh.

    Produced by Okey Ogunjiofor of the Living in Bondage fame, Queen Amina is the second in production, in the series of more than a dozen film projects which have already received a nod from the development bank under the BoI Nollyfund (BNF) scheme, an initial program limit of N1.0billion in easy-access single-digit interest loans.

    Nwuka and Madu arrived the location in the company of veteran Hausa actor and member of the Advisory Board of NollyFund, Alhaji Sani Muazu, and were received by Ogunjiofor and the director of the movie, Mr. Izu Ojukwu, a notable director of epic movies in Nigeria.

    Ogunjiofor who got N50million from BOI for the project was glad to receive the Bank’s officials, introducing cast and crew members as he conducted his quests round some of the equipment on set.

    It was an unusual site for a typical Nollywood film, with state-of-the-art equipment, soundless generating set, location vans, original props, period costumes, and passionate cast and crew members who were excited by the opportunity of being part of a global African story.

    Ogunjiofor, who produced the acclaimed Nollywood pathfinder, Living in Bondage in 1992 is optimistic that this next major project, although coming 20 years after, will make him more prominent than his first movie.

    “I have researched the story of Queen Amina in the last 20 years, and I’m glad that the opportunity to bring it to life has finally come,” he said.

    Nwuka encouraged Ogunjiofor to be steadfast despite the challenges he might encounter in the course of the movie. “You are likely to encounter some challenges as it is with every production. But when that happens, let us know on time so that we can join hands to block it and move on. Before we got to this level with the Nollyfund, it wasn’t easy. I have always said that if Kene Mparu of Filmhouse did not prove that the feat we have attained with Nollywood now is possible; if Kene didn’t run with this assignment, we won’t be where we are today. So we should make it possible so that others coming behind can take it further,” she advised.

    Ogunjiofor however described the cast and crew as die-hard people who would surmount the challenges of the terrain to ensure a successful output. “We are working, and I can assure you that when you see what we have done, you would beat your chest and say we are in the right direction.”

    On the composition of the actors, Ogunjiofor said: “I’m using all-Northern cast to tell this story. I’m using a mixture of Nollywood and Kanywood to build a bridge. What I did for Nollywood in the South that has created a huge industry is what I’m transferring to the North so when I leave the North after this production, the North will never be the same again because all the people we have trained now on how to ride horses and fight with the sword are not Igbos neither are they Yorubas. They are all from this side and these skills are with them now. We are doing this film right in their presence and a lot of them are getting trained at the same time. So, when we leave they won’t go back to doing less of what they are doing now and I am happy that the superstars of the North are all here,” he said, referring to the likes of Ali Nuhu and Sani Danja. “And we have the permission of anybody who is ‘anybody’ in the North in terms of royal lineage for this story, so there is no stopping us,” he told Nwuka.

    The ace producer also spoke highly of his crew members whom he said are experts in their various fields. They include, Izu Ojukwu who is the driver of the whole picture; Peter Kreil, a specialist in lighting and pictures from Austria who is the DOP;  Dagogo Diminas who is handling Make-up and Millicent Jack who is in charge of costumes.

    Ogunjiofor expressed his gratitude to all partners when he said, “Of course we are in collaboration with Clink Studio and our back bone is Bank of Industry, and a little support from with Project Act-Nollywood. So, these are the people who are making my dreams to come true. There are so many other ones; I have the permission of the Emir of Zazzau because, of course this is his story. Washington has been on this case with me for a long time but I am happy that very soon they will be happy that what they have always wanted to do with me is seeing the light of the day.”

    Nwuka expressed satisfaction at the level of work so far on the project, saying that the passion of the filmmakers can only encourage BOI to continue its support for Nollywood.

    “We are optimistic that filmmakers like you with track record of quality will prove it again. And this can only help to expand the Nollyfund scheme from the initial N1.0billion earmarked. It is our believe that as we produce international standard movies through this partnership, there would be the need to expand our chain of exhibition outlets such as Filmhouse, Viva cinemas, Ozone cinemas and others in the country, even as we get the best out of our accredited indigenous movie studios,” she said.

    Expressing confidence on the project, Nwuka said she was on location to show her Bank’s support for the cast and crew.

    Despite the perceived dearth of auditable business structure among Nollywood practitioners, BoI’s support for the motion picture industry has evolved in a series of joint investments with filmmakers through a well-guided easy-access single-digit interest loans.

    The special product enables Nigeria’s leading movie producers receive financial support to produce international quality films and screen them through various platforms of movie distribution available both in Nigeria and internationally.

    During an interactive session with Bank of Industry’s Divisional Head, Large Enterprises, Mr. Babatunde Joseph, at the just concluded Africa International Film Festival, AFRIFF, he noted that the NollyFund was created to give an opportunity to Nollywood stars and fillmakers to make films, tell their stories and also make their profit, while helping them with various distribution platforms in Nigeria and Africa at large.

    Interestingly, the Bank has already accredited some reputable Distributors such as G-Media, Filmone Distribution Company, Silverbird Distribution Company and Genesis Deluxe Distribution Company, as well as  Studio Operators such as Fans Connect Online Nigeria Limited (i.e. Afrinolly), Kingsley Ogoro Productions Limited and 4Screams International Nigeria Limited) to support this initiative.

    It would be recalled that the Bank of Industry had in the recent past, financed creative-industry projects such as Half of A Yellow Sun, Flower Girl, Digitization of Silverbird Cinemas, G-media and establishing of Filmhouse Cinemas, Viva Cinemas and Ozone Cinemas among others.

  • Bank of Industry visits filmmaker on set

    Bank of Industry visits filmmaker on set

    •As shoot of Queen Amina continues in Jos 

    Having financed top film projects such as Biyi Bandele’s Half of a Yellow Sun, Michelle Bello’s Flower Girl and Kunle Afolayan’s The CEO, the next indication of Bank of Industry (BOI)’s support for Nollywood has emerged in Queen Amina, a period story of the legendary Hausa Muslim warrior queen of Zazzau.

    Top officers of the Bank; Mrs. Cynthia Nwuka, Group Head, Creative Industry and Mr. Okey Madu, Assistant Manager were, last weekend, at Shere, a desert and current set of the movie located in Jos, Plateau State, where more than 200 cast and crew members were shooting a war scene that exemplifies one of the travails of the historical queen, played by Lucy Ameh.

    Produced by Okey Ogunjiofor of the Living in Bondage fame, Queen Amina is the second in production, in the series of more than a dozen film projects which have already received a nod from the development bank under the BoI Nollyfund (BNF) scheme, an initial program limit of N1.0billion in easy-access single-digit interest loans.

    Nwuka and Madu arrived the location in the company of veteran Hausa actor and member of the Advisory Board of NollyFund, Alhaji Sani Muazu, and were received by Ogunjiofor and the director of the movie, Mr. Izu Ojukwu, a notable director of epic movies in Nigeria.

    Ogunjiofor who got N50million from BOI for the project was glad to receive the Bank’s officials, introducing cast and crew members as he conducted his quests round some of the equipment on set.

    It was an unusual site for a typical Nollywood film, with state-of-the-art equipment, soundless generating set, location vans, original props, period costumes, and passionate cast and crew members who were excited by the opportunity of being part of a global African story.

    Ogunjiofor, who produced the acclaimed Nollywood pathfinder, Living in Bondage in 1992 is optimistic that this next major project, although coming 20 years after, will make him more prominent than his first movie.

    “I have researched the story of Queen Amina in the last 20 years, and I’m glad that the opportunity to bring it to life has finally come,” he said.

    Nwuka encouraged Ogunjiofor to be steadfast despite the challenges he might encounter in the course of the movie. “You are likely to encounter some challenges as it is with every production. But when that happens, let us know on time so that we can join hands to block it and move on. Before we got to this level with the Nollyfund, it wasn’t easy. I have always said that if Kene Mparu of Filmhouse did not prove that the feat we have attained with Nollywood now is possible; if Kene didn’t run with this assignment, we won’t be where we are today. So we should make it possible so that others coming behind can take it further,” she advised.

    Ogunjiofor however described the cast and crew as die-hard people who would surmount the challenges of the terrain to ensure a successful output. “We are working, and I can assure you that when you see what we have done, you would beat your chest and say we are in the right direction.”

    On the composition of the actors, Ogunjiofor said: “I’m using all-Northern cast to tell this story. I’m using a mixture of Nollywood and Kanywood to build a bridge. What I did for Nollywood in the South that has created a huge industry is what I’m transferring to the North so when I leave the North after this production, the North will never be the same again because all the people we have trained now on how to ride horses and fight with the sword are not Igbos neither are they Yorubas. They are all from this side and these skills are with them now. We are doing this film right in their presence and a lot of them are getting trained at the same time. So, when we leave they won’t go back to doing less of what they are doing now and I am happy that the superstars of the North are all here,” he said, referring to the likes of Ali Nuhu and Sani Danja. “And we have the permission of anybody who is ‘anybody’ in the North in terms of royal lineage for this story, so there is no stopping us,” he told Nwuka.

    The ace producer also spoke highly of his crew members whom he said are experts in their various fields. They include, Izu Ojukwu who is the driver of the whole picture; Peter Kreil, a specialist in lighting and pictures from Austria who is the DOP;  Dagogo Diminas who is handling Make-up and Millicent Jack who is in charge of costumes.

    Ogunjiofor expressed his gratitude to all partners when he said, “Of course we are in collaboration with Clink Studio and our back bone is Bank of Industry, and a little support from with Project Act-Nollywood. So, these are the people who are making my dreams to come true. There are so many other ones; I have the permission of the Emir of Zazzau because, of course this is his story. Washington has been on this case with me for a long time but I am happy that very soon they will be happy that what they have always wanted to do with me is seeing the light of the day.”

    Nwuka Olaoluwa expressed satisfaction at the level of work so far on the project, saying that the passion of the filmmakers can only encourage BOI to continue its support for Nollywood.

    “We are optimistic that filmmakers like you with track record of quality will prove it again. And this can only help to expand the Nollyfund scheme from the initial N1.0billion earmarked. It is our believe that as we produce international standard movies through this partnership, there would be the need to expand our chain of exhibition outlets such as Filmhouse, Viva cinemas, Ozone cinemas and others in the country, even as we get the best out of our accredited indigenous movie studios,” she said.

    Expressing confidence on the project, Nwuka said she was on location to show her Bank’s support for the cast and crew.

    Despite the perceived dearth of auditable business structure among Nollywood practitioners, BoI’s support for the motion picture industry has evolved in a series of joint investments with filmmakers through a well-guided easy-access single-digit interest loans.

    The special product enables Nigeria’s leading movie producers receive financial support to produce international quality films and screen them through various platforms of movie distribution available both in Nigeria and internationally.

    During an interactive session with Bank of Industry’s Divisional Head, Large Enterprises, Mr. Babatunde Joseph, at the just concluded Africa International Film Festival, AFRIFF, he noted that the NollyFund was created to give an opportunity to Nollywood stars and fillmakers to make films, tell their stories and also make their profit, while helping them with various distribution platforms in Nigeria and Africa at large.

    Interestingly, the Bank has already accredited some reputable Distributors such as G-Media, Filmone Distribution Company, Silverbird Distribution Company and Genesis Deluxe Distribution Company, as well as  Studio Operators such as Fans Connect Online Nigeria Limited (i.e. Afrinolly), Kingsley Ogoro Productions Limited and 4Screams International Nigeria Limited) to support this initiative.

    It would be recalled that the Bank of Industry had in the recent past, financed creative-industry projects such as Half of A Yellow Sun, Flower Girl, Digitization of Silverbird Cinemas, G-media and establishing of Filmhouse Cinemas, Viva Cinemas and Ozone Cinemas among others.

     

  • I’M IN A RELATIONSHIP WITH MYSELF– FILMMAKER ONYENWE

    I’M IN A RELATIONSHIP WITH MYSELF– FILMMAKER ONYENWE

    To many Nigerian film lovers, the name Chioma Onyenwe might not ring a bell but this filmmaker says that she’s out to tell a ‘coming of age’ story. Though an economist by training, she says that her desire to make films dates back to her childhood days. Chioma, who is also a Programme Coordinator for the Africa International Film Festival (AFRIFF) speaks to OVWE MEDEME on the preparations so far, her debut feature film, 8 Bars & A Clef among other issues.

    HOW are preparations coming for this year’s AFRIFF?

    We are in the non-sleeping stage. Every hour counts. We are very busy. Nobody is sleeping anymore. We are waiting for the festival to start and then push it through till it finishes.

    What is different from last year’s edition of the festival?

    A lot of things are different this year, mainly because it is held within Lagos. Last year, the festival was held in Cross River State. In Calabar, we had that community feel. Everybody came together in one place but in Lagos, it is quite different. We are opening it up to everyone. There are a number of venues and a lot of activities. The film screenings have doubled as against last year. Also, the industry sessions are much. There is just so much happening in town throughout the week.

    Why did you decide to bring it to Lagos?

    We wanted to grow the festival and to do that, we had to involve people that are outside the industry. We had to involve corporations, we had to involve other film lovers and Lagos is really the place to do it. That is why we are here.

    Is this your first time on the AFRIFF team?

    This is my third year. I have a film in the festival this year.

    As a filmmaker, what is your opinion on the films that made the AFRIFF it this year?

    First of all, the films are from everywhere this year. We have a couple of them from outside Africa as well. Some of them are very fantastic films. Also this year, I find that, with the African filmmaker, the messages are very topical. We are talking about migration. Migration is happening everywhere.

    We are talking about crime. I think people will connect to lots of the films in terms of what the story lines are saying. There is this very interesting football documentary that had to do with the Zambian team and how they lost their entire players to a plane crash and they came back 18 years later to win the African Cup of Nations via penalties. I think it’s very exciting the kind of schedules that we have for this year. As a filmmaker, I’ve been watching some of the festival films already because I might not have time to watch them when the festival begins. It’s all very exciting.

    How would you describe your life as a filmmaker?

    It should be my life more as a storyteller. I studied Economics at the University of Lagos (UNILAG). So I have a business background. And I went on to do a Masters in Management. So I started dabbling into films as way back as 2011. I did my first web series titled Goddammit Its Monday. And then, I’ve just been working in corporate Nigeria, doing one short film here, one short film there. Then two years ago, I went to AFRIFF for the first time and, at that point in time, I decided to go into making movies full time. It was from the people that I met there that I made my first feature film last year. Now, I’m premiering the film at the festival. It is titled 8 Bars & A Clef.

    What is the story about?

    It is about a young man who wants to overcome a learning defect, dyslexia, a dysfunctional family and an overbearing record label executive in order to achieve his dream. It is really a coming of age story. It is about music and learning and life.

    For one who has always been in the corporate world, at what point did the love for filmmaking come up?

    I think there has always been a connection; it just wasn’t official. It started since I was little. I used to read a lot of books and I could see the books visually. I could picture it as something I would like to make. That is where it was ignited. Then when I went into the university, I used to work on people’s set.

    I worked as a Production Assistant during my off time. And then, while I was studying Economics, for my final year thesis, I wrote about Nollywood. I wrote about the economic impact on the GDP of the Nigerian film industry. So it has always been something I’ve been interested in.

    Do you also direct films?

    Yes, I do. I produced and directed my film. I’m still finding my voice in directing.

    What plans do you have for the film?

    It will be screened in this festival, and this is the first time it is showing. It is something that I’m quite excited about. I want to see where it leads. I plan to release the film next year but I really want to see what the first audience’s reaction to the film is. And then, hopefully, I will find my audience and release it next year. I hope to release it by April 2016.

    How much of your time does moviemaking take?

    It is like everything else. If your day is a regular 9 to 5, you make time out every day. When you are making films, you have the period when you are busy 24 hours a day and you have periods when you are not on it as much.

    Are you married?

    No, I’m not

    Is it a deliberate thing?

    I should hope so. I should hope that it’s not an accident that I’m not married (laughs).

    Are you in a relationship?

    I’m in a relationship with myself.

    Why is that?

    Because I am fabulous; that is why I’m in a relationship with myself.

    Are we to expect another movie from you?

    There are a number of things in the works. I work with AFRIFF full time and I’m working on something for next year.

    Where you part of the filmmakers who were able to access the Federal Government’s grant?

    Actually, yes I was. This film was made with the Nollywood grant.

    How easy was it to access the funds?

    It wasn’t that difficult for me. I think it’s because I had my paper work ready. I put together a business plan. That way, it was very straight forward. It took a while, from applying to getting the loan took about a year. At that time, I had already started work. I really can’t complain. If anything, it made me do my homework, dot my I’s and cross my Ts. Everywhere I had to present something, they expected a certain level of professionalism. It prepared me for that. I think it was a good experience.