Fresh from winning the TOCSS Project Honours Award, actor Kunle Coker, in this interview with Gboyega Alaka, speaks on his many years on the Tinsel TV series, the unfolding transformation in the Nigerian movies industry and the impact of women producers on the scene.
The TOCSS Foundation recently unveiled you as recipient of its 2023 Project Honours award. Congratulations. What does this mean to you?
Oh it means a whole lot. It means somebody or people recognise my contributions to the entertainment industry. And that aspect which they are known for, philanthropy, they see that in me as well. I guess these were the things, that when they deliberated, made them decide that I deserve to get the award. And I’m very much appreciative of that. And I would say, more grease to their elbow. I hope they would continue to do more. I will continue to do more, especially now that they’ve pushed me further out there. A lot more people are going to be looking out for this Kunle Coker guy. What’s it about him? Because really we don’t have forever to stay on this planet. I normally give an analogy that our planet is like a hotel, we’ll have to check out some day. Unfortunately, not with our luggage. So we should do the best we can while we’re here.
In a statement, the TOCSS Foundation said you were being recognised for your role as an excellent award-winning actor, screenwriter, producer, director, content creator, advertising and public relations; would that mean that you have your hands in all the pies?
Yeah, it’s one of the things with the art world, we all seems to do the same thing, except that they in their different little ways differ. Once you have the basic knowledge of how to do these things, you need to keep improving yourself. Today, for instance, I’m going to learn a little something I didn’t know yesterday. As you take your journey through life, you need to be able to be abreast of what is happening; you don’t want to be bringing what people have forgotten or done away with; except there is a relevance to it. It’s like telling a child how you used to walk ten miles in your days. So? Leave car and start walking? It doesn’t make sense.
Your role in Tinsel, the Mnet television series on DSTV, seems to be the most prominent on your CV. You were with that cast for quite a while. Tell us about it.
Let me tell you how Tinsel came about. There was an American producer back then, Lord Weever; he’s late now; may his soul rest in peace. He came and said to me, I need a script for this kind of story, bla, blab la…; but I wasn’t so much into writing at the time, just starting to grow in the business of acting. I believe in one step at a time; however, there was a good friend of mine, Yinka Ogun, just coming up as well, but very good at writing. So I linked up with him in Surulere, told him about this story that someone wanted written…, and left for a bit. By the time I came back, he had written about two foolscap sheets; we made some alterations and corrections, and I took him to Lord Weever. They talked; and a bit later, Lord Weever came to me and said, ‘ KC, that’s some really nice story, we’ve got to do this’. So that’s how the thing came to be. Initially, it didn’t fly as much, but luckily Mnet came in. They were pitching for a series, Mnet; and before we knew what was happening, the pitch was accepted. And like they say, the rest is history.
And then, of course, you got your role, Ziggy.I wasn’t even thinking I’d get a role; all I was busy doing was getting in touch with people I felt were good to be in it. I was calling them, I was texting them to go for the audition; and they kept telling me ‘come and take this role, you can do it’. And before you knew it, it is what it is.
How long were you with cast?
I was there six to seven years.
That’s quite long; how do they manage to keep people on set for that long?
Oh yes, but that’s because it is more like a job. The contract there is like you got a job; you get paid monthly salary like a regular job; and the money was okay, compared to what was available at that time. And they were really nice people. You could also do other things, so long as it wasn’t clashing with the production.
What would you say stands out for you working with the cast and crew?
At the point Tinsel came, it was more like the standard for everybody. If you were not on Tinsel, you’d not been on anything. So when people go to pitch or audition for other jobs and they say ‘I am or was on Tinsel’, it’s like a done deal, a big endorsement. But the thing is people need to have an insight into things; a couple of people that we invited then dismissed it as one of those Nigerian stuff. But these are South Africans; they’re serious with their business. This was one of the first productions that went digital. Everything they did was digital. In fact, people were asking if we were shooting in Nigeria or South Africa. Although we shot some bits in South Africa, it was largely a Nigerian production.
And then the actor, Victor Olaotan passed. He was such a prominent face in the series. How did the cast and crew as a family handle his sudden exit?
Yeah, as a matter of fact he’s still there. His name is still being mentioned. And you’re right, we were a family. Even though I’m no longer there, I am still family. Having said that; it was very traumatic for a lot of us. We didn’t see it coming. Of course nobody would wish anybody dead because we’d become part and parcel of ourselves. That void cannot be filled. And like I said, his name is still prominent, like he never left.
I was looking up the movies you have featured in and Domitila popped up. That’s a long time ago. It also underlined you as one of the earliest players in the industry.
That’s quite a while ago (laughs). I wasn’t particularly in it, although I mentored some of the people who were there. I was in Glamour Girls, which came well ahead of Domitilla. It was one of the earliest Nigerian movies of remarkable quality.
Then and now; would you say there has been a marked difference in the way we produce our movies?
Big improvement. And the secret of course is equipment and funding. Most of what you saw back then was more of individualistic approach, because people just wanted to do something. And we need to give them credit for it, because it wasn’t easy.
Let’s take Glamour girls for instance, how much were you paid then and how much were you paid in your last movies?
(Laughs) It’s incomparable actually. Even then, I think I was paid well, considering that it was what it was. Basically, you need to come with a presence; everything about acting has to do with your presence; or else people will not be endeared towards you.
Your resume says you were born and bred in Lagos. Tell us about growing up in Lagos and how you towed your path into acting.
Back then, everybody was hustling, but I was determined to make a name and a way for myself; because I’m not that kind of person that likes to rely on people. I just wanted to make sure that whatever I do was impactful, in the sense that when people get to see you, they’re able to say ‘oh, it was nice I met this person,’ or this person impacted on my life positively. Because the truth is, even as you’re sitting here, I’m learning something from you. And you don’t even have to say much; to be in the Art, you have to be very discerning to see what people don’t normally see. That’s what gives you that edge.
You’ve been known to play more of big man roles or some kind of don. What makes you suitable for such?
Well, my size and look, but it’s basically because of interpretation, because there really is no reason why you look like a big man but can’t play the role. And even when they give you such role, you need to work on yourself by going out there to do your research to deliver satisfactorily. tor?
I actually studied Political Science at the University of Ibadan, but I’ve always done a bit of theatre; even back on campus, and back in secondary school.
Tell us some of the very notable movies you’ve featured in
I’ve done quite a bit. I just finished one, it’s called Bashorun Gaa by Bolanle Austen-Peters; I’ve done Your Excellency by Mo Abudu. I’ve done quite a lot.
Would you say the industry has been fulfilling for you as an actor?
Initially it wasn’t but now it’s beginning to be, because it has become a brand, so to speak. What you didn’t get initially is now beginning to trickle in; and it’s going to get better.
We’re also beginning to get real quality movies/series, like King of Boys, Gang of Lagos, Jagunjagun; would you say the industry is taking a positive turn?
What is happening is that we are starting to tell our own stories our own ways. Not that we were not telling it before but we’re now telling it with the kind of standard that the world can’t ignore. Back then it was more of home video, but these are screen, big projects that can stand anywhere in the world. So we have evolved from those mediocre days to something much more attractive that the world can now stand up and recognise. I was telling someone that they should not just have a Ministry of Entertainment, but a Ministry of Film; because it’s a very big tool that we have really not taken cognisance of. A lot of people have not been to America but they know a lot about America. We should be able to see Nigeria in a positive light through our projects.
The advent of women like Mo Abudu, Bolanle Austen-Peters, seems to have uplifted the quality of our movies; what do you think these women are bringing into the industry?
We should really never underestimate them. They are actually powerful in their own ways. They’re goal getters; not that our men are reluctant or that they’re not goal getters; but you know, it’s an area they (the women) dared to tread. It’s more like a man’s industry, even in America. Maybe because they’re female, people tend to look at them differently and listen to them more. So they’re dogged, and they needed to prove a point. If you look at majority of the busters we have now, they’re mostly women productions.
