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Nolly Silver Screen
ISSUE 06
JULY 2014
Torn
out on
DVD
The business
of cinema
10
Brands
supporting
Nollywood
+INTERVIEWS
- IRETIOLA DOYLE
- O.C. UKEJE
- ADEJOKE LAOYE
- SERGE NOUKOUE
- DEYEMI OKANLAWON
WIN
CINEMA TICKETS,
NOLLYWOOD DVDS
AND MORE
Figurine
returns in
book form
Ojuju
Behind
the scenes
pictures
5
Film
Festivals in
Nigeria
LINDA EJIOFOR
Tinsel’s sweetheart on living the dream...
Nolly Silver Screen
CONTENTS
3
ISSUE 06 JULY 2014
FEATURES
8 Top 10 brands that have
supported Nollywood
through the years
11 The business of cinema
16 Emem Isong on distribution and other challenges of
a film producer
27A Day in the life of...
Bayray McNwizu
30 Funke Akindele: Promoting values through film
30 Don’t be mere copycats
32 5 film festivals in Nigeria
36 Kunle Afolayan’s Figurine returns in book form
INTERVIEWS
14 On the cover: Linda
Ejiofor
22 Q & A with Adejoke
26
Laoye
23 Up close and personal
with Iretiola Doyle
26 Talent on the rise:
Deyemi Okanlawon
27 O.C. Ukeje on Dowry,
marriage and the World Cup
31 Serge Noukoue on
Nollywood Week Paris film
festival
12
REGULARS
4 Editor’s Note
5 Readers’ Corner
23
6 Contributors’ Bio
9 Vox Pop
10 Nolly Toons
10 Celebrations this month
12 On Set
19 News
20 Photo News
23 Nolly Pop Quiz
24 Reviews
28 Red carpet
33 Festival News
34 Listings
35 Events
37 Award News
27
38
4
Editor’s Note
This edition’s theme is on the
business of cinema. Wilfred Okiche
gets approaches the topic by looking at the life cycle of a Nollywood
movie (p. 11). What is the most
expensive Nollywood movie? Take a
wild guess and find out what others
think in our Vox Pop section (p. 9).
Our new cartoon strip – Nolly Toons
is about the Economics of a Naija
Date (p. 10).
Things get smoking hot on the
red carpet of Mbong Amata’s DVD
launch (p. 24 ) and Ivie Okujaiye’s
movie premiere (p. 25). It is great to
see these women make their debut
as producers.
Nolly Silver Screen was proud to
partner with the Nollywood Studies
Centre of the Pan Atlantic University during their annual international
conference. Check out pictures from
the event (p. 20).
PHOTO: EMMANUEL PAUL
You probably know her as Bimpe in
Tinsel, our TV sweetheart Linda
Ejiofor dishes on her acting journey,
her ideal man and Nollywood (p.
14).
C
HANGE IS CONSTANT.
This rings so true for us here at Nolly Silver Screen. We have had new additions to the
team, added more pages to the magazine and welcomed new advertising partners. For
our sixth edition, we decided to take our time and come up with a new
and improved magazine – from the design to the content. It has been a
lot of hard work, constant back and forth and a lot of long hours. Anyone who tells you
magazine publishing is glamorous is only telling you half of the story. While the finished
product which you are reading today looks like a piece of cake (it does right?), putting it
together is no sweet dessert.
So, here is a big shout out to everybody who has stood by us with
words of encouragement and advice and has pushed us to come up
with nothing but the best. This is for you!
Get the scoop on what Nollywood
movies will be premiering this
month and those that will be
released on DVD (p. 34).
For the filmmakers, there are a
number of opportunities to submit
your works for awards and festivals.
Fingers crossed, we just might get
one of our movies in next year’s
Oscars. Get all the details and see if
your film is eligible (p. 37).
I am always proud to see young talents on display – they are the future
of Nollywood.This was one of the
reasons we started the magazine in
the first place. In the homegrown
edition of Open Mic Theatre, we
were wonderfully entertained and
the pictures tell the story (p. 21).
Coming up this July is the book
launch of Autering Nollywood: Critical perspectives on The Figurine by
Adesina Afolayan (p. 36 ).
Enjoy!
Isabella Akinseye
@iakinseye
Readers’ Corner
5
Write
‘n’
win
t you have
Write to us about wha
and stand a
enjoyed in this edition
lous prizes.
chance of winning fabu
giving out 2
This month, we will be
ime Suites DVD.
copies of Murder at Pr
ema tickets to
Also up for grabs are cin
in Nigeria and
see a Nollywood movie
a gift hamper.
rscreen.com
Email: info@nollysilve
media
Get in touch via social
lysilverscreen
www.facebook .com/nol
llysilverscreen
www.google.com/+no
rscreen
www.twitter.com/nsilve
ollysilverscreen
www.instagram.com/n
VIA EMAIL
Great press release and the cover
looks awesome :)
Elizabeth Ayoola, Connect Nigeria
This issue of the magazine looks
great. I will certainly share the
link.
Dr Ikechukwu Obiaya, Nollywood
Centre, Pan Atlantic University
VIA FACEBOOK
Nice. Well done!
Joy Isi Bewaji, The Magazine Club
This is great. A must read at
www.nollysilverscreen.com
Shaibu Husseini, The Guardian
Newspaper
You can now read your
favourite magazine Nolly
Silver Screen on
issuu.com/nollysilverscreen
6
CONTRIBUTORS’ bios
NOLLY SILVER SCREEN
EDITOR
Isabella Akinseye
DEPUTY EDITOR
Innocent Ekejiuba
GRAPHICS & LAYOUT
Isabella Akinseye
ADVERTISING
Quill and Scroll Creatives
EDITORIAL BOARD
Temitayo Amogunla
Bola Atta
Bola Audu
Toni Kan
CONTRIBUTORS
Temitayo Amogunla
Akinwande Ayodeji
Steve Ayorinde
Stronghold Ekine
Ikechukwu Obiaya
Wilfred Okiche
Oluwaponmile Orija
Temitayo Amogunla is
an alumnus of Obafemi
Awolowo University, Ile
Ife and works in Ibadan,
Nigeria as a freelance
writer and editor. She is
the Creative Director of
Wordsmithy Media, a
company that brings her
passions – writing, editing and public relations
– together. She is also an
award winning essayist.
Akinwande Ayodeji is a
self taught digital artist, graphic designer and
illustrator. He graduated with an MSc Pharm.
Chem from UNILAG but
creativity is what drives
him. He intends to make
good use of it. He works
for CKDigital as a graphics designer.
Innocent Ekejiuba is
an alumnus of Obafemi
Awolowo University. He is
the Deputy Editor of
Nolly Silver Screen (the
website and the magazine). He is also an avid
blogger and budding
graphics designer.
She reviews The Meeting
(p. 25).
He reviews Artist Hustler
and My Delusion (p. 24).
His cartoon strip Nolly Check out his Nolly Pop
Toons is on The Econom- Quiz (p. 23) and his proics of a Naija Movie Date file of 5 film festivals in
(p. 10).
Nigeria (p. 32).
She thinks the amount
a Nollywood filmmaker
should spend on a
movie...will depend on
the story.
He thinks the amount a
Nollywood filmmaker
should spend on a
movie...will depend on
the script.
He thinks the amount a
Nollywood filmmaker
should spend on a
movie...will depend on
the vision and scale of the
production.
Ikechukwu Obiaya lectures at the School of
Media and Communication of the Pan-Atlantic
University and is the director of the Nollywood
Studies Centre. His research work is centred on
the Nigerian film industry.
Wilfred Okiche believes
in God, medicine, music
and movies. A medical
doctor, occasional writer,
columnist and profiler.
Oluwaponmile Orija is
studying Food Science
and Technology at the
Federal University of
Agriculture,
Abeokuta.
She loves writing and has
published several works
in the newspapers.
EMAIL
info@nollysilverscreen.com
FACEBOOK
nollysilverscreen
GOOGLE PLUS
+nollysilverscreen
TWITTER
nsilverscreen
INSTAGRAM
nollysilverscreen
Nolly Silver Screen is a monthly
online magazine of
www.nollysilverscreen.com. Reproduction in whole or in part without
permission is strictly prohibited.
He compiles a top 10 list
of Nigerian brands that
have supported Nollywood through the years
(p. 8) and writes about
He writes on the monthly the business of cinema
forum organised by the (p. 11).
Nollywood Studies CenHe thinks the amount
tre (p. 16 and p. 30).
a Nollywood filmmakHe thinks the amount a er should spend on a
Nollywood filmmaker movie...will depend on
should spend on a
the market and the profmovie...will depend on itability.
his/her business plan.
She finds out what people think is the most expensive Nollywood movie for the Vox Pop section
(p. 9).
She thinks the amount
a Nollywood filmmaker
should spend on a movie...should not be less
than 10million naira.
Want to contribute?
Send an email to info@nollysilverscreen.com
8
Top 10 Brands that have supported Nollywood through the years
BY WILFRED OKICHE
Film business is big business. But with a scarcity of major studios available to bankroll ambitious projects, Nollywood has had to turn to other means to scrape budgets
together. We present the top 10 brands that have held out a helping hand and
ensured that the films are steadily churned out.
Lagos state
Ecobank
MTN
Globacom
Diamond Bank
With a lot of movies shot
in the Centre of Excel-
The deal may have gone
bust now, but Ecobank
The telecoms giant is
quite incapable of play-
Mike Adenuga’s Globacom has become one of
Diamond bank has taken
a good bite of the Nol-
lence, almost nothing
can be done without
the total support of the
Fashola-led state government. Cinematographer/
director Tunde Kelani
and his Mainframe productions have benefitted
from the state government’s largesse with his
2011 film Maami as well
as the upcoming feature
Dazzling Mirage.
walked the talk and
partnered with some
top flight producers like
Charles Novia and Chico
Ejiro in the short lived
Project Nollywood. While
the productive romance
lasted, Ecobank’s partnership spawned results
like Fred Amata’s Letters
to a Stranger, Novia’s
Caught in the Middle and Fidelis Duker’s
Senseless.
ing in the small leagues
so when MTN arrived in
Nollywood, it was with
a splash heard around
the world. The unmistakable yellow colour of the
brand was prominent in
Mahmood Ali Balogun’s
Tango With Me. Stephanie Linus muttered the
most famous line in last
year’s Doctor Bello when
she promised to get
Isaiah Washington’s character an MTN sim card.
the biggest supporters
of Nollywood. Globacom
has anointed dozens
of film stars as ambassadors, paying them
mouth-watering sums
in the process and has
supported fully, the film
projects of these ambassadors. Funke Akindele
and Kunle Afolayan are
filmmakers who have
enjoyed the Globacom
touch in their various
projects.
lywood apple with its
obvious presence in the
production and promotion of Obi Emelonye’s
award winning film Last
Flight to Abuja. The
finance powerhouse
also was highly visible in
the creation of theatre
maven, Bolanle Austen-Peters’ Broadway
style musical Saro which
premiered last year.
DSTV
NEXIM Bank
Amstel Malta
iROKOtv
Silverbird cinemas
With the Africa Magic
stations, multiple 24 hour
channels dedicated to
airing Nollywood content
back to back, perhaps
no other brand has been
as visible in its support
for growing local television content. Apart from
acquiring copyrights
for a fee, DSTV’s parent
company Multichoice
hosts the annual AMVCAs which will enter its
3rd season next year and
only recently, the company called for entries for
original film ideas.
The Nigerian Export-Import Bank has been actively supporting the film
industry for a while now,
focusing more on the
distribution end of movie
making. Under its ‘Export
of Services’ mandate,
the bank has spent over
N460 million Naira as
seen in the investment in
Kene Mkparu’s Filmouse
group of cinemas which
has outlets in Lagos,
Ibadan and Calabar.
Amstel Malta backed the
reality talent hunt show
AMBO Box Office for a
couple of years and the
show went on to discover fresh talents like
Tonto Dikeh, O.C. Ukeje
and Ivie Okujaiye. Amstel Malta is a big sponsor of the Africa Magic
Viewers Choice Awards
and this year, the brand
sponsored the short
film/advert, The Search,
a mini biopic on the lives
of Genevieve Nnaji and
footballer Mikel Obi.
Say what you will about
Jason Njoku and his
methods of doing business but none can deny
that his iROKOtv has
been good for Nollywood. From exposing the
films to a wider audience,
especially in the Diaspora
to making them available
at the touch of a button,
hence bypassing some of
the tragic effects of piracy, the iROKOtv project is
a welcome development.
What would the ‘New
Nollywood’ be without
Silverbird cinemas? The
Murray-Bruce family enterprise re-revolutionised
the viewing of local movies with the arrival of the
Silverbird cinemas. The
numerous film premieres
hosted at the Silverbird
Galleria in recent times is
proof that when it comes
to supporting Nollywood
talent – and profiting
from it – nobody does it
better.
9
VOX
pop
What is the most expensive Nollywood movie??
Oluwaponmile Orija finds out..
Half of a Yellow Sun
27 billion Naira
Fakomaya Ayomide
Ije (The Journey)
40 million Naira
Tolulope Elemo
Snare
270 million Naira
Kevin Emina
Last Flight to Abuja
40 million Naira
Segun Aminu
Half of a Yellow Sun
8 million Dollars
Samuel Tomoloju
Last Flight to
Abuja
20 million Naira
Jimi Adesesan
Two Brides and A Baby
20 million Naira
Lade Taylor
Lekki Wives
Millions of Naira
Ada Uwalaka
Shuga
9 -15 million Naira
Benjamin Edegbai
10
JULY CELEBRATIONS
11
Olu
Jacobs
12
Rita
Dominic
17
16
Ramsey Nonso
Nouah
Diobi
19
Kate
Henshaw
The business of cinema
11
The allure of Nollywood – and Hollywood – has always been the glamour, glitz, red carpets and film premieres. Movie stars that move
from photo shoot sets to interview studios. But there is a reason the industry is associated with the word showbusiness. The show and
the business; both of them, opposite ends of a spectrum that are not always mutually exclusive.
With the re-emergence of the cinema culture, industry practitioners have had to contemplate newer mays of getting income from their
intellectual property. Distribution, which used to be the exclusive rights of the marketers at Idumota and Upper Iweka, opened up to
accommodate players like the Silverbird Group, Kene Mkparu’s
Filmhouse and the Genesis Deluxe Cinema franchises. New
wave as well as old school producers have begun to navigate
interesting options to yielding revenue for their moves.
One of the very first steps to a potentially successful film in
today’s Nollywood is securing endorsement. Now this may
come in the form of telecom companies looking for a shout
out in the film or state governments contemplating tourism
avenues. In some cases, a windfall of cash is made available
up front which the producer is able to plough into actual
production. More often than not, such boosts arrive when
the shoot is done and are directed to marketing and publicity
efforts. In cases where actual cash does not change hands, the
filmmaker benefits from the products and services the sponsoring brand has to offer as required in the screenplay and in
the process, helping to keep costs low. A-list stars who enjoy
endorsement deals and chummy relationships with the major
brands are sometimes cast in strategic roles in a film so as to
convince these players to invest in their projects. Funke Akindele, Kate Henshaw and Kunle Afolayan are some thespians
who have benefitted from this arrangement.
When a film is ready to be screened, producers make the cinema calls and enter into negotiations with the management
of the privately owned picture houses. The type of deal the
Chioma Akpotha, Ali Nuhu and Funke Akindele unveiled
filmmaker scores varies from one cinema house to the other
as OMO Brand Ambassadors
and is dependent on a number of factors which may include
clout, genre of film and proper negotiating skills. Most houses
adopt the standard sharing of profits with the filmmaker keeping up to 30% of the film’s revenue. A particular cinema is fond of insisting
on the option of hosting the film premiere as part of the deal, thus, forcing producers to add it to their publicity budget.
After the cinema rounds come the DVD/video sales. This could be the make it or mar it stage of the film’s cycle as it is the part most
likely to be pirated and made available for a token. Chineze Anyaene who wrote and directed the future classic Ije: The Journey adopted strict precautions during her film’s roll out plan to prevent losing ground to the pirates. Some of them included recording the film in
non-rewritable discs and making sure the market was flooded with the reasonably priced original copies of the film nationwide. Other
emerging alternatives for film distribution are online and on television where producers give away the rights (at ridiculous prices sometimes) to behemoths like DSTV’s Africa Magic and Jason Njoku’s iROKOtv.
While these methods are still being tested, it has become imperative that filmmakers make an effort to research and study about the
film business. Structure is as important as talent and to avoid a doomsday scenario where producers sign away their rights to greedy
businessmen and mortgage the industry’s future in the process.
12
PICTURES FROM THE SET OF NOSA
IGBINEDION’S OYA: RISE OF ORISHA
13
PICTURES FROM THE SET OF
C.J. OBASI’S OJUJU
14
LINDA EJIOFOR
Tinsel’s sweetheart on living the dream...
BY ISABELLA AKINSEYE
How did you start your career in
TV?
Purely by chance. While waiting for NYSC,
I got involved in modeling on a part time
basis, and then one fateful day, my friend
hits me up telling me about the Tinsel
audition. I was reluctant at first but then I
gave it a shot and was very surprised that
I got a role. That’s how I got cast to play
Bimpe. The rest, as they say, is history.
Has it been financially rewarding
or do you have a side hustle to
foot the bills?
I’ve been so blessed being in the Nigerian
film industry. Let’s just say I am able to
pay my bills. If by side hustle you mean
other projects I get involved in, then that
would be movies and commercial modeling.
Tell us about your character in
Dowry?
Nike is a bully! She is not scared of anyone and is way too opinionated (she just
wouldn’t let anyone take her for a fool). I
suspect it had something to do with her
past which my dear writer-director
Victor Sanchez Aghahowa is (frustratingly) keeping a secret. Let’s not forget she’s
also best friend and self appointed bodyguard to the bride.
Was it stretch for you or did you
feel right at home playing her?
Initially, I had thought it was going to be
easy to play Nike but was I wrong! I realised that underneath all that hard exterior,
Nike really had a soft and vulnerable side
which she tried very hard to conceal. That
mix made it a really interesting but still
very tasking role to play. After numerous
conversations with Victor, we were able
to build the character and strike the right
balance.
What is your secret in remaining
consistent in your craft?
YouTube! I watch a lot of acting tutorials
online and read books on acting. I also
watch quite a lot of movies to study my
favourite actors.
Who are your role models in the
industry?
I have so many, if I start I may not finish.
Which do you prefer TV or film
and why?
Well, for me, working on TV isn’t so much
different from being in a movie set. I love
both and find them equally tasking but
for different reasons. For TV, I have been
playing the Bimpe character for years and
most of the acting is technical. However,
when I am on a film project, I find myself
having to go so much deeper artistically
to build a character and intensely maintain that character for the period of the
shoot. At the end of the day, whether TV
or film, the point is I get to do what I enjoy the most - act!
What next can we expect from
you this year?
I have set goals for the year that I am
working hard towards. I am scheduled to
shoot a few very exciting movies which
unfortunately, I am not at liberty to discuss at the moment.
Describe a typical day in your
shoes?
If I am scheduled to shoot, I usually wake
up by 5:30 am, get to work by 7:30 am
and I am on set the whole day. During
shoot breaks, I try to catch up on some
movie/series, play pranks on my colleagues and catch some sleep. During my
off days, I either have strategy meetings
with my management and PR team or I
simply stay home and watch more movies.
My friends know the only thing that can
bring me out of the house is a new movie
in the cinema (smiles).
Beyond acting, what other areas
of filmmaking will you like to try
your hands on?
I am currently working on co-producing,
co-directing and co-acting a short film
with Deyemi Okanlawon and will let you
know how that goes (fingers crossed). I
also plan to go to film school soon.
If you were not acting, what will
you be doing?
15
What is your favourite Nollywood
movie of all time?
That would be Violated by the late Amaka
Igwe (may her soul rest in peace).
How do you spend your free
time?
I love my sleep so I’m almost always
home or hanging out with friends.
What does family mean to you?
Family means the whole world to me, I
don’t joke with my family. Love them to
the moon and back and I’m forever grateful for their support.
Any plans to settle down soon?
Of course! Once the Lord sends Mr.
Right my way...keep watching this space
(laughs).
What qualities does Mr. Right
need to possess?
He has to have a deep relationship with
God and have a clear vision first for his
life and then for his family. Should have a
great sense of humour, has to smell good,
be a good listener and most importantly
respect and accept me for me.
The only thing I’ve ever wanted to do outside of acting was to be a creative executive in the advertising industry.
In three words, you are?
“He has to have a
deep relationship with
God and have a clear
vision first for his life
and then for his family. Should have a great
sense of humour,
has to smell good, be
a good listener and
most importantly respect and accept me
for me.”
What advice do you have for people wanting to join the industry?
What are your hopes for Nigeria’s
motion picture industry in the
next five years?
I can see clearly that with the massive
influx of investment, talented filmmakers,
writers and actors as well as skilled technicians, the next five years will see Nollywood crossing from acceptance by the
black race to gaining global acceptance.
Blunt, funny, and sexy (laughs). Told you I
was funny.
Network with other actors so you get
information on upcoming auditions.
Work on your acting skills. Go see some
stage plays, read books and watch a lot
of movies, series, reality shows. One day,
it shall be you answering these questions
(smiles).
16
Emem Isong on distribution and other
challenges of a film producer
BY IKECHUKWU OBIAYA FOR THE NOLLYWOOD STUDIES CENTRE
Online platforms for the distribution of Nigerian films are a welcome development.
The producer/scriptwriter, Ms. Emem
Isong, stated this while speaking at the
May edition of the Filmmakers’ Forum
organised by the Nollywood Studies
Centre of the School of Media and
Communication. Ms. Isong spoke on
the topic, ‘Overcoming the Odds in
Nollywood: A Producer’s Challenges,
Solutions and Successes.’
“I try to let the investor know
that this business is quite
risky. I’m not going to promise
that I’ll give your money back
within [a particular fixed period]. I won‘t give you a timeline.
I’d rather say, give it at least a
year… It could take a year for
you to get your money back”
Ms. Isong acknowledged that some
of her colleagues might not agree with
her as to the opportune entrance of
the online platforms. But she went
ahead to state that “It saves me the
trouble I used to have of fighting the
marketers in North America and in
Europe. I am not selling to those people
anymore. They used to owe too much.
Now, I’d rather just sell my films to
Iroko or Ibaka that will cater to the
people in the diaspora.”
The profitability of the platform for
the filmmaker, however, depends,
among other things, on his/her
negotiation skills. “It depends on your
bargaining power and how much you can
get from these people for your work; how
many years you can negotiate for them to
have the rights. I usually negotiate for, at
the very least, two years.” Ms. Isong added
that she always restricted such agreements
to just the internet rights since she prefers
to handle the other rights herself.
In response to a question on the
nature of her overall distribution
strategy, Ms. Isong noted that it
depended on whether the film was a
straight-to-DVD film or if it was one
made for the cinema. “A lot of the time,
I make straight-to-DVD movies.
Sometimes, I try the cinema – with the
advent of the cinema, it’s been quite
encouraging.” Given that the numbers
are important in the cinema, a publicity
campaign is carried out to get as many
people as possible to watch the film
there. “After going to the cinema, we
then go to the [online platform]. We
release through those ones first before
we go on DVD, which is the final stage.”
Ms. Isong revealed that she
depended on her own distribution
network to carry out the work at this
final stage. “My own distribution that I
have [focuses mainly on] DVD. I have
outlets in Onitsha, Aba, Akwa Ibom,
Abuja and mainly Lagos.”
Earlier, Ms. Isong shared with the
audience how she entered the film
industry. According to her, she got into
filmmaking during “the golden age of
Nollywood, when the home video
phenomenon was still a phenomenon.
The market was crowded; audiences
were insatiable, and people were
jumping on the film bandwagon from
other industries…” She resigned from
her job as a banker and entered the
industry. Her first film, Jezebel, was an
Igbo language film that she wrote and
co-produced with Francis Agu, in 1994.
Her first solo effort came in 1996 with
Breaking Point, which she funded and
produced. The funding came from her
parents in the form of a sixty thousand
Naira loan. She also got some assistance
from Tunde Kelani, who hired out
equipment to her on credit.
Ms. Isong recognised that she meets
with various challenges in the course of
her journey through the industry. The
first of these, she said, is creative. “Being
a movie producer, our job is to find and
tell stories that will stand with the many,
many stories released everyday and sell
enough to make money so as to make
new stories. Where do we find these
stories?” She went on to add that these
stories had to be mined from one’s life
and the experiences of others.
Funding continues to be a major
challenge for the filmmaker.
In response to a question as to how she is
able to reassure investors of a timely return
of their investment if they fund her film, Ms.
Isong had this to say: “I am very hesitant
when it comes to getting money from investors. If I do, I try to let the investor know
that this business is quite risky. I’m not
going to promise that I’ll give your money back within [a particular fixed period].
I won‘t give you a timeline. I’d rather say,
give it at least a year… It could take a year
for you to get your money back, not to
even talk of your getting profit.” Making the
money back, she stressed, is the climax of
the filmmaking process, and this is where
the challenges of distribution come in.
The Forum ended with a cocktail during
which the members of the audience had
further opportunities to interact with Ms.
Isong. The Filmmakers’ Forum is a monthly
activity of the SMC’s Nollywood Studies
Centre.
Read every edition on
www.nollysilverscreen.com
JUMP AND PASS NOW ON THE BIG SCREEN
N E W S
Jump and Pass is a new
comedy produced by Uduak Oguamanam (Desperate
House Girls and Okon Goes
to School).
Directed by Desmond Elliot,
the movie features Ime
‘Bishop’ Umoh, Alexx Ekubo,
Belinda Effah, May Owen,
Emem Ufot, David Azeez,
Whoba Ogo and Odot Ekanem.
Edem (Bishop Umoh)
plagued with diarrhoea
leaves his gate unmanned
in search of tissue paper.
There’s a robbery in the
neighbourhood and two
strangers run in through the
open gate for safety. Ikenna
(Whoba Ogo) is forced to open his door to his neighbours, the
strangers and Edem. Jump and Pass is screening at Silverbird
cinema, Uyo.
19
HALF OF A YELLOW SUN SET TO
DEBUT IN NIGERIAN CINEMAS THIS JULY
Having met the conditions set by the
Censors Board, FilmOne Distribution have
been given the green light to release Half of a
Yellow Sun in Nigerian cinemas.
The movie has been given an “18” rating and
is set for release this July. While no official
date has been chosen, the distributor
has hinted that the movie will be
screened between 18th and
25th July.
IBINABO PRESENTS THE CERTIFICATE OF OWNERSHIP OF LAND IN ABUJA TO AGN
Her Excellency president of AGN, Ms. Ibinabo Fiberesima, once again has demonstrated her penchant for doing the impossible. The fair one that has in less than two years
transformed the guild to become the envy of all other guilds. At the event to mark one
year in office of the Lagos chapter chairman, Victor Osuagwu, Madam President made
a pleasant surprise appearance. At the announcement of her coming, the atmosphere
became positively charged in anticipation of the president whose achievement surpasses
that of every other president the motion picture industry has ever had.
Ms. Ibinabo Fiberesima left everyone dumbstruck when she announced that the president of the Federal Republic of Nigeria, His Excellency Dr. Goodluck Ebele Jonathan has
once again demonstrated his love for the creative industry as he has delivered the land
they asked for when they paid him a courtesy visit earlier this year.In her words she said
“When I wanted to be president, they said I am a woman but dem no know say na woman sabi make things work pass. I chased this land like a lunatic because I didn’t want to
hear that the certificate of ownership did not come when I was president. So today I am so happy to present this certificate to the board
of trustees”. At the sight of the certificate of ownership held high in the air by the chairman of the board of trustees Mr. Ifeanyi Dike, her
members burst into heavy celebrations and the ladies began singing and dancing in her honor.
Mr. Ifeanyi Dike could not hold his excitement he said “Madam president I thank you for finally giving AGN a home. This is what we had
in mind when we formed this guild”. He thanked the president Goodluck Ebele Jonathan for making true his promise to them. “Once
again our president has shown that he is a man to be trusted. On behalf of AGN I say thank you”. Other notable board of trustee members and veteran actors present like Sonny Mcdon W, Okey Bakasi, Emma Ogugua and many others also lent their voice to eulogize the
exceptional president.
Ms. Ibinabo Fiberesima in a chat with the press to announce that she had finally given in to the calls of the congress and her members
nationwide to run for a second term. This they said was due to her monumental achievements and it will be unfair to deprive the guild
of such selfless service. Also it will give her the opportunity to consolidate her achievements. Also beneficiaries of the AGN’s benevolence fund like Prince James Uche, Maxwell e.t.c. made surprising entrances to share their experience and encouraged other members
to register for the health scheme. Prince James Uche said “in 2008 I lost my family and I lost all hope but madam Ibinabo has shown me
that I have a bigger family”. Many veterans have benefitted from the benevolence fund. Mr. Larry Williams who the President rented an
apartment for and is furnishing is the latest beneficiary. For a long time the veteran actor had been homeless, the matter recently got to
the hearing of Madam president and she took swift action.
TEXT AND PHOTOS: COURTESY OF STRONGHOLD EKINE FOR NOLLYTV
20
Ikechukwu Obiaya
Alex Enyengho
photo N E W S
Juan Manuel Elegido
Shaibu Husseini
Gab Onyi Okoye
Chris Nkwocha
2ND ANNUAL NOLLYWOOD
STUDIES CENTRE
INTERNATIONAL CONFERENCE
PHOTOS: EMMANUEL PAUL & ISABELLA AKINSEYE
Delegates
Patricia Bala
Winner of the raffle draw, Tony Abulu
receiving a Nokia Lumia 1020
photo N E W S
Deyemi Okanlawon
21
Kemi ‘Lala’ Akindoju with some of the actors
and guests
Dakore Akande
Linda Ejiofor spotted in the audience
OPEN MIC THEATRE: THE HOMEGROWN EDITIION
PHOTOS: ISABELLA AKINSEYE
O.C. Ukeje
Tope Tedela
Xclusive Mic
Kemi ‘Lala’ Akindoju
and I enjoy it.
What advice do you
have for people who
want to join the industry?
Network a lot. That
goes for any industry,
not just entertainment.
Do your research and
find out who the key
players are. Try to get
to know the people
who are doing something similar to what
you would like to be
doing. Some of them
may even become
mentors. Above all, be
professional and leave
a good impression.
e
y
o
a
L
e
k
jo
e
d
A
h
it
Q and A w
EYE
BY ISABELLA AKINS
From stage to TV to
sitcom, how have
you been enjoying
your move back to
Nigeria?
My mantra has been
“keep an open mind
and don’t take things
(including myself) too
seriously”. To survive
here, you have to be
able to roll with the
punches and take
things as they come
without feeling entitled. I am extremely
grateful for the
opportunities that I
have been given and
grateful for the hard
work that has begun
to pay off.
Tell us about your
character in Dowry.
I play the character of
Lola in Dowry. She is
the groom’s younger
sister, a free spirit who
marches to the beat of
her own drummer.
Is this a role you
have played before
or is totally new for
you?
Certain elements are
new, and certain elements are familiar.
Read every edition on
www.nollysilverscreen.com
Which do you prefer - the stage or the
camera and why?
They are very different, but I would have
to say I’m a stage
girl at heart. There
is something about
performing live and
feeding off of an audi-
ence’s
energy that takes me
to a different place.
On stage, everything
happens in that moment and once it’s
gone, it’s gone. On
stage, I’m bigger than
my body, bigger than
my voice, bigger than
my limitations, bigger than myself - it’s
magical.
Describe your first
audition.
My first audition wa
disastrous! I had just
started university and
I wasn’t sure what I
wanted to study so I
went to try out for the
Musical Theatre program at my school. I
had never auditioned
before so I thought
I could just show up
and razzle dazzle them
with my awesomeness.
When I got there, it
was clear I wasn’t prepared, and my nerves
got the best of me. It
was bad, it was very
bad.
What keeps you going as an actress and
TV personality?
They say “there’s no
business like show
business” and I totally believe that. The
entertainment industry doesn’t typically
function the way other
traditional industries
do. While it can be
very rewarding, it can
also be very unpredictable. I do what I do
because I am talented
Who are some of
your role models?
I’m inspired by Chimamanda Ngozi-Adichie
and Asa because they
live according to their
own rules. They’re
young and fearless
and are products of
my generation. They
use their creative talents to make a difference in their own way.
What is your favourite line from a movie?
I’m obsessed with
Mean Girls and I love
when Damian says:
“That’s why her hair
is so big, it’s full of
secrets.”
Beyond acting,
what other area of
filmmaking are you
interested in?
I have done a little bit
of directing and would
love to do that again
someday.
If you were not acting/presenting, what
will you be doing?
I’d probably be teaching.
What was the last
Nollywood movie
you watched?
Maami by Tunde Kelani.
In one word, you
are?
[A] Dreamer.
PHOTO: COURTESY OF
ADEJOKE LAOYE
NOLLY POP
BY INNOCENT EKEJIUBA
QUIZ
1. Which movie was first
premiered this year?
2. Where was Darima’s
Dilemma premiered?
Up Close and
Personal
with
Iretiola
Doyle
3. How many Silverbird
Cinemas do we have in
Nigeria?
STARRING IN DOWRY
The producer/director Victor Sanchez is a colleague
and good friend of mine and had spoken to me a
long time ago about working together on a project.
Besides belonging to my friend, the script was refreshing, different, the dialogue brilliant; an actors
dream... Then my character - Jadesola Richards???
I wasn’t likely to pass up the opportunity to play
her.
4. Who is the executive
producer of Half of a
Yellow Sun?
5. Who directed Mama
Africa?
6. Where is FilmHouse
Cinemas’ new cinema
located?
23
ON JADESOLA RICHARDS...
Simply put: she’s a classy bitch who genuinely
cares about her own, though she has an odd
way of showing it. Plus, she’s not to be trifled
with.
CAMERA VS STAGE
Stage. Nothing beats the instant gratification.
IRETIOLA ON THE TELE
Yes. At least two more TV productions
DAILY ROUTINE
7. Who directed Make a
Move?
Up by 4 am to get the kids up and ready for school, then I’m usually on set by
8 am. Depending on the day’s schedule, I’m back home at anything between 4
pm and 9 pm.
LOVING NOLLYWOOD
8. What edition of the
Eko Internationmal Film
Festival would be held this
year?
9. Where was the last African International Film
Festival Held?
10.On what day did
Flower Girl screen at the
Toronto Black Film
Festival?
Our tenacity and ‘can-do’ spirit.
CHANGING THE INDUSTRY
I’d make make sure we had stronger and more enduring structures, which are
backed by the law. I would also like to see better quality scripts and stronger
female characters.
RUNNING SISI OGE
The competition is an offshoot of the fashion show Oge that I produced and
presented for a decade. It was another way to strengthen the brand and further
appeal to our core fan base which was made up mostly of young people.
ACHIEVEMENTS
There have been several, but the sum total is still being here plying my trade
for close to two decades and still being relevant.
IN FIVE WORDS, YOU ARE...
Easy-going, passionate,diligent, sexy yet subtle.
INTERVIEW: ISABELLA AKINSEYE
PHOTO: COURTESY OF IRETIOLA DOYLE
24
REVIEWS
Title: Unforgivable
Title: Artist Hustler
Genre: Trailer
Genre: Documentary
Director: Desmond Elliot
Director: Taiwo Badejo
Year: 2013
Year: 2012
Artist Hustler takes a deep look into the world of a hustling artist. One not
devoid of creativity but opportunity. The documentary is in Yoruba language
but subtitled into English and carefully trails the artist from the point where
the art is made through the frustrations of trying to sell and finally ends at the
point of reflection after a day’s job. The soundtrack chosen for this documentary carefully complements the artist’s line of work (sculpting). This particular
artist is inadvertently not just telling his story, but the story of art appreciation
in Nigeria and also the challenges of surviving.
- INNOCENT EKEJIUBA
Title: My Delusion
Genre: Short Film
Director: Okuns Osanyade
Year: 2013
In the less-than-two-minutes trailer of Unforgivable,
what hits you immediately is drama! From the opening lines, you get this feeling that things will only
get hotter and they do! From the hot steamy kissing
scenes to the visible and very audible slap, it is obvious that something indeed must have really gone
wrong.
If you don’t understand Yoruba, I am sorry, because
majority of the dialogue is in Yoruba and unfortunately, there are no translations. For me, Dayo Amusa really has no excuse except of course she wants a
very limited audience. How much would it have cost
to get a translator for the trailer?
Generally, the trailer is well produced save for a
scene where the lighting could have been improved.
Also, less would have been more and a better selection of more toned down scenes would have made
for entertaining viewing. There is far too much kissing, fighting and drama and not enough on the story
line. It all seems like bits of interesting pieces all put
together to get the maximum effect. The ending
of which basically has a character speaking English
saying, “I want to discuss with you” has no business
being there and does nothing to further help me
understand the movie.
The biggest strength of this trailer is the stars it features: Dayo Amusa, Mike Ezuruonye, Bukky Wright,
Desmond Elliot, Faithia Balogun, Bimbo Thomas,
Iyabo Ojo, Niyi Johnson, Bidemi Kosoko, Lawal Aisha,
and Titilayo Shobo. That alone would seal the fate
of the movie and would make some people watch it
irrespective of the glitches and that list includes me.
Verdict – You would enjoy watching Unforgivable if
you are a fan of Yoruba movies and do not mind the
odd over acting here and there but leave the kids at
home.
- ISABELLA AKINSEYE
My Delusion says a lot in just 4 minutes. It tells a tale of love, woe and addiction. Without dialogue but rather making use of props probably too small for
some to notice, the director passes a lot of information to the viewers (for example, what Charles did for a living and why he was sacked). Further impressive
in the tale of love lost due to the delusional interpretation of marital vows is
the acting and the scene transition and the musical score. These three features
compensated for the writer’s seemingly frail grasp of what the perfect anti-climax should be.
- INNOCENT EKEJIUBA
25
Title: The Meeting
The more frustrated she was, the worse she looked.
The main character had some flashes of good acting, especially towards the end of the movie when frustrated, he takes laws into his
Genre: Feature Film
hands; when frustrated, with no fear of “Code Red” he barges into
the Minister’s Office, and into the car park. He eventually is able to
Director: Mildred Okwo
make his presentation with the minister on the move. That’s not the
whole story, in Abuja, he gets the contract and also finds love. In
Year: 2012
the arms of a younger girl. The creative way of connecting the main
I just saw The Meeting; I am a late bloomer like that. Slow to catch plot and the sub-plot is inventive. The minor characters bringing
on things when they trend. Maybe that is where The Meeting’s en- on their best as well. The scene with the Fantastic Yoghurt drinking
during quality lies. For this one, I am about three years late. Howev- woman, sucking on an empty bottle. The sound: an allusion to what
er, the movie is as relevant today, as it was three years ago, as it will is left when a runs-girls finishes sucking on Professor’s account. The
be for many years to come. Let’s dig in.
sexual imagery, straw in mouth, well served. The comedy: exact,
The film starts in a small place—a man’s attempt to save his com- to douse the waiters’ tension. There is comedy in the irritating: a
pany from recession. An appointment with the Minister of Lands:
traditional leader’s entourage at the Minister’s Office, complete
Monday Morning. Monday Evening, he should be back in Lagos.
with drums and dance. The scene where Ejura tricks her ex-boyOn Friday, the single father of two also has to be at his daughter’s friend, Jolomi, a way to lift her curse off his head. The scenes flow
convocation ceremony. There are a couple of bottlenecks. The
into each other easily, the funny and the frustrating, side by side.
civil service botThere was a
tleneck. Tough to
throw-in of
pry open—with
some tourism
smiles, good manangles for
ners and bribe.
Lagos and
Sometimes it takes
Abuja there.
force. The tightest
Abuja being
bottleneck—the
the “peaceful
Minister’s Secretary.
and tranquil”
He does not see
city. Lagos
the Minister until
being the city
Friday morning.
of hustlers.
What happened
I am Mr. Mabetween Monkinde Esho,
day and Friday?
from TechThat is the movie.
mas NigeWith some quesria Limited;
tions—what can
I have an
happen in a man’s
appointment
life in a new city, in
with the Min-
“The Meeting is one movie that stares you in the face with the big
issues about Nigeria yet takes you to new places. Of laughter, at
yourself, at the hilarious things you withstand as Nigerians.
Abuja as he tries to make an appointment? What can happen that
can change his life forever? From that small place, the movie gets
bigger, spreads like cancer, taking on bigger issues, it begins to hit
in, eat into the viewer—corruption, bribery, nepotism, civil service
bureaucracy, love are some of the murky issues it delves into. The
well-told, well-acted story answers these “mundane” questions in a
creative way.
The story is one that everyone, that many Nigerians can relate to.
The actors are compelling in their execution of the characters. They
make the story easier to relate with, they make it easy to picture.
The characters are revelatory of us, of the baggage we carry as
Nigerians: Makinwa, the hustling worker, refuses to give a bribe
(Femi Jacobs); Clara, the frustrated Secretary whose palms must
be rubbed to get anything done (Rita Dominic); Ejura, the youth
corper unsure of the future, but finds love along the way (Linda
Ejiofor); Professor Akpan Udofia, the professor, full of big words, no
actions (Basorge Tariah); the elusive Minister, so much protocol for
doing so little; Bolarinwa, the runs babe, connected in high places
(Nse Ikpe-Etim); Mrs. Ikomi, the citizen who gives in to pressures
when integrity no longer works (Kate Henshaw). Each character has
a purpose which they live up to. All these characters and more are
really striking in their roles. They bring to fore something extra, that
makes them memorable, that makes the movie unforgettable.
Make-up equally complements characterisation. This is one Nigerian movie that makes effective use of make-up. Rita Dominic
is transformed into a frustrated civil servant who easily rubs her
frustration on others. Make-up lines her face with believable wrinkles. However, what stands out is how Rita Dominic plays out her
frustration—her sheer lack of respect for visitors; the movement
of her jaws as she chews the gum that is always in her mouth; the
happiness that lights her face when her palm is whet by a visitor.
ister. This line was repeated many times. Repetition with a purpose.
If the play were a stage play, one would call it an existential drama.
There is a lot of repetition. Of setting, costume, dialogue and action. The main settings used are the waiting room of the Minister’s
Office and the hotel, every other setting was just thrown in here
and there. This, minimal use of everything is a stunt that is difficult
to pull. Yet, it was well done. Comic relief was thrown in. Romance
was thrown in. All these in, you have an exciting meeting in front of
the screen watching the movie.
The Meeting is one movie that stares you in the face with the big
issues about Nigeria yet takes you to new places. Of laughter, at
yourself, at the hilarious things you withstand as Nigerians. Of
sadness, at how much this country need s good revolution. Of
optimism, perhaps there is hope, for you, for Nigeria. Of probing,
where do we go as a nation if the several issues raised by this movie are still present?
Some things though. Rita Dominic would have been better with
some more skills at pronouncing Yoruba names: Ijebu Remo. Also,
the frustrated make-up looks as if it would soon peel off her face
towards the end. Perhaps it was a way to heighten the frustration.
Also, my copy of the CD started scratching after the first watch.
Perhaps, the movie is meant to be watched once. Makinde’s wait to
see the Minister was worth it in the end: brought him love and his
company a contract. My wait for The Meeting was well worth it: it
brought me laughter and introspection. The movie did not depreciate in value because I didn’t watch it on time; in fact, like fine wine,
the longer the wait, the sweeter the taster.
- TEMITAYO AMOGUNLA
26Talent on the rise: Deyemi Okanlawon
Describe your education background.
I have a Bachelor of Science degree in Chemical
Engineering from the University of Lagos, an Acting
for Film certificate from the NYFA as well as several
work specific training certificates during the course
of my eight year sales and marketing career. My most
important learning however came from hustling on
the streets of Lagos.
What made you go into acting?
I’ve always enjoyed stories and since about the age
of 5, I’ve enjoyed acting. Growing up I realised two
things; acting was the one thing I could possibly be
the best in the world at and secondly, that drama and
actors have in them power to change lives and cause
social change. In the last few undergrad years, I got
into a fellowship group, Harvesters company of HICC,
and later led Xtreme Reaction, the drama, music and
dance youth group of Covenant Christian Centre. I
always found ways to express my passion even while
I worked full time without it affecting my job. All the
hard and mostly free work finally paid off when I
posted a few short films I featured in online and they
got quite a positive reviews. The calls from producers
started coming in after (yes, yes I’m Nollywood’s
version of Justin Beiber).
Has it been fulfilling and financially
rewarding?
Making the career shift from sales and marketing to
acting has been my best decision yet. For me the acting profession has been immensely fulfiling and much
more rewarding than I thought possible.
What are some of the projects you have
worked on in the past?
I’ve had the opportunity to play roles in some films ZR7, Journey to Self, A Few Good Men, Kpians Feast of
Souls and A New You. I’ve also done some short films
such as Blink, In Iredu, 6:30, Dependence, A Grain
of Wheat, Lagos Lying Game and Badt Guy. I’ve also
appearedn in some TV and web series like Gidi Up,
Knock Knock and Kpians Premonition. I’ve also been
in theatre productions including Itakun, Clogs and
Diagnosis.
How did you hear about Dowry?
I had met Victor a couple of times and we had both
talked about seeing each other’s work and wanting to
work together. So when I got his call for Dowry, the
decision was already 80% made.
What made you commit to the production?
Victor! The story, and the manner in which it was told
was one of the most innovative I had experienced as
well as his passion for filmmaking and his skill (caveat
- he paid for this promo).
Who are your role models?
Acting wise, Richard Mofe Damijo and spiritually Poju
Oyemade. I have observed them prove that no matter the obstacles, clarity of purpose with depth of
thought as well as determination with a sense of responsibilty will bring results that exceed expectation.
What does family mean to you?
A haven to go to when the world goes crazy (even
when my family is crazier than the world at least it’s a
craziness I am familiar with).
In one word, you are?
Intense!
INTERVIEW: ISABELLA AKINSEYE
PHOTO: COURTESY OF DEYEMI OKANLAWON
A day in the life of…
27
Bayray McNwizu
A typical day for me is waking up at 5 am. Try to
read up on my favourite book – the Bible. Then I
set out to jog at 5.30 am. At 6.15 am, my son and
adopted daughter leave for school. Then I begin to
answer the first batch of mails, speak to my publicist
while I eat a light breakfast and then set out to the
film studio for work. At about 8 pm I’m kinda done
at the studio. I may head to Shoprite for groceries
and then head home. I do homework with the kids,
jump into the shower and the day is almost gone.
We prepare for the next day especially if it’s a weekday, have a couple of jokes, say our prayers and then
it’s...bon nuit!
STORY: ISABELLA AKINSEYE
O.C. UKEJE on Dowry, marriage
and the World Cup
BY ISABELLA AKINSEYE
How did you hear about Dowry?
Well my good man Victor Aghahowa aka Sanchez has all these
projects he’s always buzzing about. All really good scripts. All
premium stuff. And he hollered at a brother when this was commissioned. Alas...
What did you enjoy most about playing your
character?
I think I enjoyed the banter between my character and Nike as
played by Ade Laoye. They were really great scenes together and I
loved them. Outside that, just being the centrepiece for all characters to draw from in some way was a blast for me. A kind of
centre-of-attention scenario.
Any memorable moments on set?
I particularly loved a scene Ade Laoye and I had to shoot that was
about 8 to 12 pages long. And we weren’t aware we were doing
that much of a scene. We were losing daylight. We needed to be
offbook asap. Other scenes were pending. I cannot believe the
magic we pulled on that scene. It was surreal. Other really amazing moments were when Victor would take a script and rip it apart
in a matter of seconds, and he was simply doing this to filter off
the unnecessary stuff either because of time or some other constraint. Pure, unadulterated magic.
In real life, will you be paying a dowry anytime
soon?
Lol...soon is relative. As the popular song goes, ‘when will you
marry, this year, next year, sometime or never...’ It’s one of those.
What next should we expect from you this year?
As far as releases go, I know Special Situations or it might be
called The Department will be at the end of the year. I have no
dates on other projects yet but there are films in August and
September to be shot though.
Who do you think will win the world cup?
Uhm. I don’t even know the countries that qualified. But I shall go
with my supposition that it will be the best team. Lol!!!
PHOTO: COURTESY OF O.C. UKEJE
28
Mbong Amata releases Darima’s Dilemma on DVD
Mbong Amata offered her producing debut Darima’s Dilemma on DVD to cinephiles celebrities 8 June 2014
at the Civic Centre, Victoria Island, Lagos. Those in attendance included event was well attended Susan Peters, Agatha Amata, Chico Ejiro, Uru Eke, Elvis Chucks, Ikay Ogbonna, Lancelot Oduwa Imasuen and Padita
Agu among others. The movie in which she starred in alongside Ghollywood actor Majid Michel was produced under the supervision of Royal Arts Academy’s Emem Isong who also graced the occasion.
ROW 1 L - R) Mbong Amata; Frederick Leonard; Monalisa Chinda; Ikay Ogbonna; Susan Peters.
ROW 2 (L -R) Nnamdi Oboli and Emem Isong; Ihuoma Nwigwe, Ikay Ogbonna, Padita Agu, Mbong Amata, Uru Eke and Moses
‘Sneeze’ Inwang.
ROW 3 (L - R) Grace Johnson; Belinda Effah; Uche Iwuanyanwu; Bola Aduwo; Uru Eke.
PHOTOS: COURTESY OF MBONG AMATA
Ivie Okujaiye premieres Make A Move at the cinema
Award winning actress and screenwriter now turned producer, Ivie Okujaiye made
premiered her debut production Make A Move to a packed audience at the Silverbird
Galleria, Victoria Island, Lagos on 29 May 2014. The movie which stars two of Nigeria’s leading musical acts Tuface Idibia and Omawumi Megbele combines music, dance
and drama. The star studded movie premiere was graced by Denrele Edun, Ibinabo
Fiberisima, Norbert Young, Bimbo Manuel, Uti Nwachukwu, Tope Tedela and Adesuwa Etomi among others. Members of the cast and crew were also present to interract
with fans.
ROW 1 Uti Nwachukwu
ROW 2 (L -R) Ayoola, guest and Denrele Edun; Ayoola, Norbert Young and Bimbo Manuel
ROW 3 (L - R) Tina Mba, Ibinabo Fiberesima and Ivie Okujaiye; O.C. Ukeje; Adesuwa Etomi and Tope
Tedela
PHOTOS: COURTESY OF BIG SAM MEDIA
29
30
Funke Akindele: Promoting Values Through Film
FEATURE
BY IKECHUKWU OBIAYA FOR THE NOLLYWOOD CENTRE
The desire to promote good values as well as the need to give back to the society and make a difference are the driving forces for Ms.
Funke Akindele. Speaking at the April 2014 edition of the Filmmakers’ Forum of the Nollywood Studies Centre, Ms. Akindele stated, “Before I take up any role, I think about the message I’ll be passing.” She went on to add that her choices of roles as an actress were guided
by the framework of the Nigerian culture and its value system. She emphasised the importance of promoting good values, especially
with respect to the protection of children. This, in addition to the protection of her personal brand, has sometimes led her to request
that certain aspects of a screenplay be toned down in order for her to accept the offered role.
Earlier, at the start of the Forum, Ms. Akindele narrated how she began her acting career. She had always wanted to act, she said, and
she had the full support of her mother. After obtaining an Ordinary National Diploma (OND) in Mass Communication from the Ogun
State Polytechnic, in 1995, she decided to study Theatre Arts. However, her father insisted on her studying Law, and she got a place in
the University of Lagos to do just that. But this did not stop her from attending auditions and seeking an entry point into the film industry.
Her first role came in 1997 in Opa Williams’ Naked Wire, and she also got minor roles in a couple of other movies. Her big break, however, came with the television series, I Need to Know, which was directed by Lloyd Weaver and produced by his outfit, Swift Studios. It
was a big break in more than one sense because she seized the opportunity to learn the ropes of production. But this still did not open
the doors of the English filmmaking sector to her. She had better luck with Yoruba films, which she turned to on the advice of others. Ms.
Akindele seized the opportunity to emphasise the importance of determination and self-confidence for the thespian. It will always be a
tough struggle, she said, and encouraged budding actors to always hold on to their dreams.
In 2004, she decided to bring into play all that she had learnt about production on the set of I Need to Know, and she made her first
film, Ojoketala (The Thirteenth Day). Her delving into production, according to Ms. Akindele, was facilitated by her curiosity and interest
in learning about the different aspects of filmmaking. “When I make films, I oversee every aspect closely such that a cinematographer
once asked me with irritation whether I am a camerawoman.” Ojoketala was followed by other films such as Itanu and Taiwo Taiwo. But
the film that has made her well known, and which provided one of her major roles, was Jenifa.
The decision to make Jenifa arose from the desire to make an impact by passing a message on moral norms aimed at parents and their
daughters. In this case, she was concerned about prostitution on the university campus. However, the realisation that similar stories had
already been told in other films underlined the need to tell the story differently so as to make the message register, hence the use of
humour.
“Producing Jenifa was difficult,” Ms Akindele noted, due largely to the challenges faced in raising the funds. She had not intended to
play the lead role but, after three days of fruitless auditioning, she was forced to take it on. She created the character around the idea
of a “wannabe village girl” and imbued her with different mannerisms that she had observed in different persons. “I carried out a lot of
research for the character and travelled as far as Oshogbo, Ilorin and Ibadan to get the dialect right.” Her efforts paid off, and the film
was very successful. Following another success with the sequel, Jenifa Returns, she now plans to produce a television series based on the
same character.
Speaking passionately about the need to give back to society, Ms. Akindele said that the Jenifa Foundation had been set up to achieve
this end. The Foundation aims to help people nurture their talent by training them. As such, workshops and other activities are organised on that platform. The areas of training include fashion design, make up, hairdressing, bead making and drama. The Scene One
School of Drama has also been set up to contribute towards the needed manpower development in the film industry.
The Forum ended with a question and answer session during which Ms. Akindele slipped into the Jenifa character in various moments to
the pleasure of the audience.
Don’t be mere copycats
BY IKECHUKWU OBIAYA FOR THE NOLLYWOOD CENTRE
Nigerian filmmaking should not be reduced to merely copying foreign styles of shooting and editing. Rather, keeping in mind the cultural aspect of films, the Nigerian filmmaker should be able to produce films that are not only technically well-made but also reflect the
cultural milieu in which they were made. These ideas were put forward by Mr. Mahmood Ali-Balogun while speaking as the guest at the
February 2014 edition of the Filmmakers’ Forum of the GTBank Nollywood Studies Centre. Mr. Ali-Balogun, who spoke on the topic, “Enhancing the Cinematic and Production Values in our Movies,” stressed the importance for the filmmaker of being able to do something
that works for his/her people. But, he noted, there is a need to know the rules before attempting to bend them to suit one’s purpose.
Mr. Ali-Balogun went on to list what he termed “the fundamentals” that a good film should have. These fundamentals consist of a combination of quality technical materials and methods that are used in production. Speaking about the script, which was mentioned as the
first critical requirement for a production, he noted that it was not enough to have a good story. The story must also be believable with
appropriate casting and location.
Still speaking about the script, he emphasised the importance of the script supervisor’s role. The script supervisor is responsible, above
all, for monitoring and ensuring adherence to the script. Unfortunately, he noted, this role is largely neglected in the Nigerian film industry, and the consequent glitches are obvious in many films. The script supervisor works closely with the director and the editor, and the
presence of such a person on set helps to prevent many mistakes.
Mr. Ali-Balogun, the producer/director of Tango With Me, showed the audience clips from his film, which he used to illustrate some of
the points he was making. He did not hesitate to draw attention to what he identified as flaws in the film. These were used as learning
points from which members of the audience benefitted.
The Tango With Me producer also spoke about the importance of cinematographic values as a prerequisite for getting one’s film accepted for exhibition in the cinema. For a film to be accepted in the cinema, he said, it must possess four key values: it must be interesting; it
must be profound; it must be sublime; and it must possess visual appeal. Films that lack these qualities are hardly likely to be accepted
by cinema owners.
The Filmmakers’ Forum, which ended with a cocktail, was attended by a large audience that included Mr. C.Y. Okonkwo, the veteran
documentary film producer.
INTERVIEW
SERGE NOUKOUE
31
Founder, Nollywood Paris Week film festival
How and when did your love for Nollywood develop?
It started in the early 2000’s. I started watching a lot Nigerian films
(though it was not easy to access those films as I was not in Nigeria)
and I was also eager to learn more about the dynamics behind that
industry. I remember reading about the stories of people who would
sell their cars or their houses in order to be able to fund their films
for instance. I found those stories to be very inspirational. I quickly
developed a personal relationship with Nollywood. I even met my
wife while attending a Conference on Nollywood back in 2006.
What has the perception of Nollywood been like in
France?
The perception in France prior to the festival for those that heard of
Nollywood was that all films are low quality, low budget and extremely fast productions. Now after two editions of Nollywood Week
that perception is changing. But also keep in mind that it is only a
small fraction of French people that even know what Nollywood is or
where it comes from.
What made you start Nollywood Week Paris?
I felt like it was needed due to the lack of awareness and access to
quality Nollywood films. Especially in a city like Paris that has cinema in its DNA. The most dynamic African country when it comes to
cinema had to have a window in the capital of cinema. It just made
sense. It also helps change the discourse about African cinema. Until
now, mainly films from francophone Africa would enjoy exposure
in France and spectators started to believe that was all that was out
there.
What were some of the challenges you faced along
the way?
The challenges are many for whoever wants to start something like
this. Funding is probably the most important challenge. But you also
have people who will tell you that your project doesn’t make sense
or is not needed and you should do something else. If you are not
100% convinced of the importance of what you are doing then all
these obstacles will eventually make you give up. In my case, I have
been able to continue precisely because of my belief in this project
and my will to contribute to the growth of Nollywood.
Tell us about the achievements of Nollywood Week
Paris film festival.
Nollywood Week Paris film festival has gathered thousands of people in Paris to watch Nigerian films in a cinema. That’s the main
achievement. It shows that people are interested. It also means that
Nigerian filmmakers now have a new market to cater for. Which
means potentially more revenue for the filmmakers.
Another important element to the festival is professional networking. Thanks to the festival, some of the directors have found collaborators for their future projects. To help with production needs, this
year we partnered with Angenieux, a French company known for
making top-of-the-line optic lenses, to lend a lense free of charge to
the Director of the winning film of Nollywood Week 2014 for use in
their next film. This is a value of about 15,000€.
That’s the kind of added value that Nollywood Week is providing
and we hope to do more in the future. This festival was conceived as
a tool to contribute to the development of the Nollywood industry.
What next should we expect from you?
We plan to continue growing and have other projects in the pipeline
but will speak about them when the time is right.
“This year we partnered with
Angenieux to lend a lens free
of charge to the director of
the winning film of Nollywood
Week 2014 for use in their next
film. This is a value of about
€15,000.”
How can people get involved in the next year’s
event?
Get in touch with us via info@nollywoodweek.com We are
looking for more partners, more staff as well and we are open
to new ideas so do not hesitate to reach out to us.
What was the last Nollywood movie you watched?
I watch Nollywood movies all the time but the last one I
watched in a cinema was Apaye at the premiere of the film in
Lagos.
If you could change anything in Nollywood, what
would it be and why?
I wish there was a bit more of collaboration in the industry and
mainly among the Directors. I think it would help the industry
grow faster.
In three words, you are?
A passionate cultural entrepreneur.
INTERVIEW: ISABELLA AKINSEYE
PHOTO: COURTESY OF SERGE NOUKOUE
32
5 NIGERIAN FILM FESTIVALS
BY INNOCENT EKEJIUBA
Africa International Film Festival
The sheer number of participants at the Africa International Film
Festival alone is breathtakingly amazing and deserves recognition.
Since inception in 2010, AFRIFF has hosted more than 10,000 guests
(international and domestic), more than 2000 industry guests, over
500 workshop participants and also, an excess of 500 entries from
around the world has been received. This alone puts AFRIFF on top
of this list. For a film festival that is barely four years old to pull
such a weight, they must be doing something amazingly right. Having held the first edition in Rivers State and the next in Lagos state,
AFRIFF has afforded more cities and persons the opportunity to
witness the festival. I guess it is ok to say that they have anchored
at Tinapa, Cross River state as the last edition was held there and so
would the next edition.
Eko International Film Festival
Eko International Film Festival was founded and established by
Supple Communications Limited in 2009 and since then, the journey have been somewhat straight forward and upward for the
festival. This year EKOIFF promises to surpass previous editions as
it gears up to host the 5th in the commercial heartbeat of Nigeria.
You do not need to stray too far to discover what they are doing
right. Consistency is the key, and the ability of the organisers to
constantly push the bar higher ever year and while their patronage
seems low now, there is always room for improvement.
iRep International Documentary Film Festival
The most unique thing about the iRep Film Festival is that it is designed to promote awareness about the power of documentary. It is
focused mainly on documentary on the conceptual framework of Africa in self-conversation. Obviously iRep is bringing something new to
the table. Unlike other film festivals that threat documentaries as just a
category, iRep has assumed the responsibility of deepening and sharing social and cultural education as well as encouraging participatory
democracy in our societies by projecting documentaries.
Abuja international Film Festival
It is not easy to keep a flag flying for a decade, and the organisers of Abuja International Film Festival has done just that. The mere fact that it was started in 2004
and is still running till now deserves respect and hence earns the festival a place
on this list. Over the course of its existence, the Abuja International Film Festival has enjoyed good patronage and popularity in the circles of filmmakers and
in the industry. But when it comes to recognition outside the industry and circle
of filmmakers, the same cannot be said. It raises the legitimate question of who
matters the most? The consumers or the in house persons?
Lights, Camera, Africa Film Festival
The first edition of Lights, Camera, Africa Film festival was held in 2011 and unlike conventional film festivals, it wasn’t held at a location, but rather across various locations in Lagos. With the standing partnership with 20-year old African
film festival New York (AFF), and new partnerships fostered with New Black London Film Heritage group and Nadia Denton of the United Kingdom it is easy to
see how high LCA would soar in 10 years. LCA Film Festival has all the right indicators that point to a project of immense passion. The name is unconventional
but strategic and the vision as conveyed in their concept note is engaging.
FESTIVAL NEWS
AWARD WINNNG ACTOR/DIRECTOR FRED AMATA APPOINTED ACTING
FESTIVAL DIRECTOR OF THE ABUJA INTERNATIONAL FILM FESTIVAL
33
The Board and Management of the 11th Abuja International Film Festival are pleased to announce the appointment of Mr. Fred Amata,
a Nigerian-born film actor and director, media personality, and cultural icon as the acting festival director of the Abuja International Film
Festival. Fred Amata is a 1986 graduate of theatre arts from the University of Jos. He was the second director of the longest running TV
soap of the eighties Ripples. An award winning actor; for his heart rendering role in the 1996 sensational movie Mortal Inheritance with
Omotola Jalade Ekeinde. He has worked with the several TV stations amongst them NTA, Clapperboard TV, and DBN Television.
One of the most recognised screen figures in Africa, Fred Amata is a scion of the renowned Amata film dynasty that has produced some
of the most recognised and celebrated names in African film.
He made his debut as an actor in the award–winning TV series, Legacy in 1986. In a career spanning almost three decades, Fred has
earned directorial, acting and performance credits in over 150 productions spanning almost the entire genre of film, theatre, and cinema. He has won the coveted Nigerian Best Actor Award (Mortal Inheritance, 1997), Best Director Award (Light and Darkness, 2002), and
several other awards and recognitions including: The Afro-Hollywood Awards for Outstanding Performance, London (1999); Outstanding Performance and Contribution to the Nigeria Film Industry, Washington DC (April 2004) and Nollywood Ambassadors Award, Kenya
(May 2010).
Fred Amata has consulted for the UNFPA on the use of Nollywood (Film) Content for advocacy and was inducted into the Movie Makers
Hall of Fame, USA in October 2009. When off set, Fred is an ardent football, scrabble and chess player who loves music and dancing,
travelling and discovering peoples of the world and their culinary delights. He will be receiving the baton of leadership from Mr. Fidelis Duker who founded the film festival almost 11 years ago and whose role will be advisory capacity cum founder of the film festival. It
must be noted that Duker has over the last 11 years developed the Abuja International Film Festival to an enviable height globally as
the foremost and longest running independent film festival in West Africa. According to the Head, Media Communications of the Abuja
International Film Festival, Mr. Louis Okpoto, Mr. Amata will be leading a team of creative individuals. The 11th edition of the festival is
billed for the 23rd to 26th of September 2014 in Abuja.
Source: Abuja International Film Festival website
THE MEETING SHINES AT 2ND NOLLYWOOD WEEK PARIS FILM FESTIVAL
The Meeting, directed by Mildred Okwo Meeting and co-produced by actress Rita Dominic, won the Nollywood Week 2014 Audience
Award. The other five films in competition were Confusion Na Wa, Flower Girl, Half of a Yellow Sun, Misfit and Journey to Self. The festival opened with Omoni Oboli’s directorial debut Being Mrs. Elliot.
The festival trophy was awarded to actress/producer Rita Dominic who expressed her surprise and joy at the closing ceremony which
was sold out, as was the case for several sessions of this second edition. The winner of the Audience Award will receive material supply from Angénieux ( a leading supplier of high-tech optical products for the audiovisual production industry) that can be used during
the shooting of her next film, a special screening at the World Day of African Culture and an acquisition offer from Canal + Africa. The
teams of the six selected films will also receive pre-production software published by the company Melusyn.
The closing ceremony ended with Andrew Dosumu’s film, Mother of George. The Nigerian film festival brought together over 2000
spectators in Paris over 4 days.
Nollywood Week Paris Film Festival is an annual Nigerian film festival based in France, whose objective is to bring the best of the New
Nollywood Cinema to French audiences.
Source: Nollywood Week Paris Film Festival website
11TH ABUJA INTERNATIONAL FILM FESTIVAL CALLS FOR ENTRIES
The festival considers films completed between 2011 and 2013, and there is no charge for entry. All submissions must be entered via the
filling of the entry form online at www.abujafilmfestng.org.
The deadline for all entries, including receipt of samples, is 15th of July 2014 for all film entries. Entries are accepted in features, shorts,
documentaries and experimental. The extensive seminar, panel discussions and master-class workshop programme featuring local and
international filmmakers and industry professionals will hold simultaneously with the daily screening of films. The festival has a Competition and Non Competitive Category. The competitive category has awards for the winners.
For more information visit: www.abujafilmfestng.org or email infor@abujafilmfestng.org
Follow the festival on twitter: @AIFFest
Send 2 DVD copies to: Festival Director, Abuja International Film Festival, 85 St. Finbarrs Road, Akoka, Yaba, P.O. Box 365 Sabo, Yaba, Lagos, Nigeria.
The festival is supported by the Federal Capital Territory Authority Arts & Culture Council, National Film and Video Censors Board, Nigerian Film Corporation, Nigerian Television Authority, National Broadcasting Commission, Ministry of Culture and Tourism and Ministry of
Information.
Source: Abuja International Film Festival website
34
LISTINGS
IN FILMHOUSE CINEMAS THIS JULY
The Number One Fan (4th July
2014)
One Night In Vegas (18th July
2014)
Half of A Yellow Sun (Sometime
between 18th of July and 25th
of July)
Dead Drop (25th July 2014)
MOVIE PREMIERES
The Broken Bride will stages its world premiere at the Odeon Cinema Greenwich,
London on the 4th of July, 2014. The multicultural Nollywood movie is directed by
George Kelly and is produced by Theodora
Ibekwe Oyebade. Starring in the movie are
Julie Coker, Theodora Ibekwe Oyebade,
Olivia Eze, Verona Rose, Preston Toghanro
and others.
The much anticipated action drama The
Voice produced by Nkiru Slyvanus is set to
be premiered. Starring Nkiru, Kenneth Okolie, Betty Njoku-Olumowe and others the
movie was directed by Afe Olumowe. The
film will be premiered at the Oriental Hotel,
Lekki Lagos on July 13th, 2014.
OUT ON DVD
The Moses Inwang production Torn is finally out
on DVD. The psychological thriller features Ireti
Doyle, Monalisa Chinda, Joseph Benjamin, Bimbo
Manuel, Julius Agwu. Torn depicts a psychological and emotional thriller of two friends Ovu and
Nana, who both believe they are married to the
same man.
Dayo Amusa has released Unforgivable on DVD.
The movie features Dayo Amusa, Mike Ezuruonye,
Bukky Wright, Desmond Elliot, Faithia Balogun,
Bimbo Thomas, Iyabo Ojo, Niyi Johnson, Bidemi
Kosoko, Lawal Aisha and Titilayo Shobo.Unforgivable is the story of a woman who sacrifices everything to make her home work to the detriment of
her health with the hope of pleasing her husband
who doesn’t appreciate her love.
35
EVENTS
Adesua Etomi
Anthony Monjaro
Osas Ighodaro
O.C. Ukeje
Daniel Ettim Effiong
Folu Ogunkeye
Ikechukwu
Kemi Lala Akindoju
Faces at Gidi Up 2 Private Screening
Ndani TV hosted a private screening of the
Gidi Up series yesterday, June 21, 2014. The
premiere launch event was held at The Palms,
Genesis Deluxe Cinema, Lekki, Lagos.
This new season of the hit series Gidi Up, sees
a more thrilling adventure centred on friends
in pursuit of happiness, success and independence. It will premiere on Ndani TV’s website,
YouTube channel and national television on
Monday June 23, 2014.
The event featured the casts from the series;
OC Ukeje, Titilope Sonuga, Deyemi Okanlawon,
Adesua Etomi, Anthony Monjaro, Daniel Effiong and other celebrities made the exclusive
screening guest list.
TEXT AND PHOTOS: COURTESY OF RED MEDIA
Zainab Balogun
Toolz and Onos
FEATURE
36
Kunle Afolayan’s Figurine returns in book form
…set for launch at MUSON Centre
Kunle Afolayan’s popular film, The Figurine (Araromire) is returning to the limelight five years after
making waves, winning five awards including the
best film category at the prestigious African Movie
Academy Awards (AMAA) and travelling far and near
at Film festival circuits.
The film’s story is now being told in a scholarly book
titled Auteuring Nollywood: Critical Perspectives
on THE FIGURINE which will be unveiled at a major
ceremony on Thursday July 31, 2014 at the MUSON
Centre, Onikan, Lagos.
According to a press release from Relentless Media, the outfit coordinating the book unveiling and
launching in conjunction with Golden Effects Services, the ceremony will witness a rich array of Nollywood stars, allied film professionals, academics, top
government functionaries, captains of industry and
members of the diplomatic corps.
“Former Minister of National Planning and a respected patriarch of the arts, Chief Rasheed Gbadamosi,
OFR will chair the ceremony that is designed to be
one of Nollywood’s greatest moments outside movie
location.”
The book, a collection of scholarly essays, is the first
of its kind devoted to the work of a single Nigerian
film director. It interrogates the thematic focus and
cinematic style employed in The Figurine, while also
using that singular work to engage the new trends
in the new Nigerian cinema popularly referred to as
Nollywood.
Edited by Dr. Adeshina Afolayan of the Department
of Philosophy, University of Ibadan, the book’s Foreword was written by Prof. Jonathan Haynes of the
Long Island University, USA and a notably scholar on
Nollywood. Contributors to the 455-page book include Dr. Sola Osofisan, Dr. Dele Layiwola, Dr. Chukwuma Okoye, Jane Thorburn, Matthew H. Brown,
Gideon Tanimonure, A.G.A Bello, Foluke Ogunleye and Prof. Hyginus Ekwuazi. An ‘Afterword’ on
“Neo-Nollywood and its Other” by the prolific Scholar, Dr. Onookome Okome, is also provided in the book in addition to series of interviews with key actors and technicians that featured in
the film. “This is a novelty”, says Kunle Afolayan, who has since shot two other well-acclaimed films – Phone Swap and October 1 (whose
premiere is slated for October 1, 2014 in Lagos). “We have always said we should tell our stories. But I believe it goes beyond mere rhetorics and images on the screen. Releasing one’s movie to scholarly interrogation like this is one of the next levels for our film industry to
climb and I’m excited that this is already happening through my film”, he added.
The book has been receiving critical acclaims already. According to Dr. Nduka Otiono, former Secretary General of Association of Nigerian Authors (ANA) and a lecturer at the Institute of African Studies, Carlton University, Ottawa, Canada “this book is seminal in its inauguration of a new chapter in the study of Nigeria’s phenomenal contribution to global film culture … it makes a strong case for a more
in-depth artistic and critical approach to the study of Nollywood that triangulates around orality”.
Similarly, Mr. Steve Ayorinde, renowned journalist/film Critic and helmsman of Relentless Media, applauds the arrival of Auteuring Nollywood “at a time that the Nigerian film industry is opening up to the Academy Awards and is also being duly acknowledged as a major
contributor to the Nigerian economy”. The book, he added, fulfils two roles - championing a new and positive development in cinematic
and literary studies in Nigeria by focusing exclusively on the work of a single cineaste while also expanding the narrative around a film
industry that continues to announce its arrival on the global scene in a spectacular way.
To Dr. Akin Adesokan of the Indiana University, Bloomington, USA, the book is “comprehensive and informed about its subject and in
unexpected ways gives solidity to the characterization of Nollywood as ‘telling our own stories’”.
The reviewers that will do justice to the intellectual content in the book are Mr. Emeka Mba, the Director General of the National Broadcasting Commission and Dr. Ikechukwu Obiaya, who is the Director of Nollywood Study Centre, Pan-Atlantic University, Lagos.
TEXT AND PHOTO: COURTESY OF STEVE AYORINDE FOR RELENTLESS MEDIA
AWARD NEWS
37
The Nigerian Oscars Selection Committee Calls for Entries
The Nigerian Oscars Selection Committee is delighted to announce that it is now accepting submissions for its inaugural selection edition (from 16th June 2014 – 16th July 2014). In line with our commitment to screening the finest and boldest Nigerian
cinema, the committee accepts films of all lengths and genres.
1. ELIGIBILITY
a.
NOSC accepts motion pictures from Nigerian filmmakers living in Nigeria and Diaspora whose films relate to Nigeria.
b.
The recording of the original dialogue track as well as the completed picture must be predominantly in a language or
languages other than English. Please note that Pidgin English is also considered as a foreign language. Accurate English subtitles are required.
c.
The motion picture must be first released in Nigeria no earlier than October 1, 2013 and no later than September 30,
2014
2. GUIDELINES
a.
Films that have previously screened publicly in Nigeria, aired on television prior to the selection, are available for purchase on DVD in Nigeria, or are available for continuous online viewing in their entirety are NOT eligible.
b.
Films must be submitted on DVD and must be clearly watermarked with: Preview Copy. Do not send film prints, master
tapes, or other originals.
c.
Entrant confirms and warrants required legal authority to submit the entry into the Festival and to use all music, images,
and content in the entry.
d.
Entrant will allow usage of clips from the film for promotional use on television, radio, in print, and at live Festival
events.
e.
Works in Progress: While entrants are permitted to submit films that are not fully complete (i.e., without final colour correction and sound mixing), please note that the programming committee will only consider the version submitted; subsequent
cuts or replacement copies will only be accepted at the request of the programming committee.
f.
Only complete entries (including entry form, and preview DVD screener) will be processed.
g.
Please submit a typed or clearly printed entry form or a copy of the online form receipt along with the submission. The
Nigerian Oscar Selection Committee is not responsible for incorrect wording in publications or on awards if the entry form is
incorrect or illegible.
h.
Productions in the following exhibition formats are eligible for screening: 35mm, DCP, HDCAM, DigiBeta, and Blu-ray
Disc.
3. DEADLINES
Eligible entries must reach the office of the Nigerian Oscars Selection Committee on or before 16th July, 2014.
Submissions can be done by post to the following address:
House 2, Block 101, Plot 8,
Furo Ezimora Street,
Lekki Residential Scheme, Phase 1,
Lagos, Nigeria.
4. SELECTION CRITERIA
The Nigerian Oscars Selection Committee (NOSC) focuses on choosing high quality films from Nigeria. All eligible submissions
will be reviewed and selected based on the quality of the film’s narrative and its production values.
Please note that, NOSC will only inform you if your film meets the criteria and is among the films in consideration by the committee. The Nigerian Oscars Selection Committee (NOSC) will endeavour to complete all selection procedures by 1 September,
2014 and Nigeria’s officially selected film for the Best Foreign Language Film at the Academy Awards will receive be announced
on a gala night shortly after.
For more information and enquiries, visit www.nigerianoscarselection.org or e-mail info@nigeriaoscarselection.org
Source: Nigeria Oscars Selection website
The 4th Lights, Camera, Africa
Calls for Entries
Submit films via post to LCA 2014 Film Festival, WSE Nigeria,
59 Ademola Street, Ikoyi, Lagos. Please note that films need to
relate to or express the festival’s 2014 theme, LEGACY. The deadline is July 18th, 2014.
You can contact LCA with your questions or inquiries by emailing
info@thelifehouselagos.com or visiting us at www.lightscameraafrica.com or calling us on +234 703 403 0683 or +234 703 417
0400.
Source: The Lights, Camera, Africa website
38
AWARD NEWS
NOLLYWOOD MOVIES AWARDS NOW OPEN FOR ENTRIES!
The Nollywood Movies Award is now open for entries
for the 2014 edition, which will be held on the 18th
October 2014 at the Intercontinental Hotel, Victoria
Island, Lagos. The deadline for all films submissions is
the 15th July 2014 and nominations will be announced
in August 2014. Only English and Nigerian indigenous
language movies produced, released or premiered
between 1st February 2013 and 31st April 2014 will be
eligible for consideration.
Submitted movies should not exceed 180 minutes and/
or should be in a maximum of four parts. Short movies
should not exceed 40 minutes. Final decisions will be at
the discretion of the nominations panel.
Please ensure that your movies list the full credits to
all concerned to enable the panel identify individuals
eligible for nominations. reach Nollywood offices, SW1
MEDIA, 18 Esomo Close, Ikeja, Lagos by the deadline
of the 15th July 2014. Deliver movies in hard drive or
DVDs.
CATEGORY 1: THE BEST OF NOLLYWOOD
These awards celebrate Nollywood’s:
§ Best Movie
§ Best Actress in a Leading Role
§ Best Actor in a Leading Role
§ Best Actress in a Supporting Role
§ Best Actor in a Supporting Role
§ Best Diaspora Movie
CATEGORY 2: CULTURE & HERITAGE
These awards recognise the key role of indigenous languages, culture and heritage:
§ Best Film in an Indigenous Nigerian Language
§ Best Lead Actor in an Indigenous Language
§ Best Lead Actress in an Indigenous Language
CATEGORY 3: PROFESSIONAL & INDUSTRY
These awards recognize the professionals that work behind the camera to make the films possible:
§ Best Editing
§ Best Sound Design
§ Best Original Screenplay
§ Best Cinematography
§ Best Director
CATEGORY 4: POPULAR CHOICE
These are awarded to the Nigerian actor and actress who receive the highest number of votes in a public online poll
or the film that makes the biggest box office returns in Nigerian cinemas:
§ Most Popular Actress
§ Most Popular Actor
§ Top Box Office (Nigeria)
CATEGORY 5: ARTISTIC
These awards are in recognition of the artistic contribution of creative individuals and artisans within the Nollywood
industry:
§ Best Make-up Design
§ Best Costume Design
§ Best Set Design
§ Best Music Soundtrack
CATEGORY 6: RISING STARS
These awards are in recognition of emerging new talent in the industry:
§ Best Rising Star, Male
§ Best Rising Star, Female
§ Best Child Actor
CATEGORY 7: SHORT FILM
This single award is in recognition of new filmmakers who have displayed exceptional talent in the production of a
short movie. The duration of the movie should be a minimum of 12 minutes and a maximum of 40 minutes.
For full submission instructions visit www.nollywoodmovies.tv
Source: Nollywood Movies Awards Website