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)?
