The New Gong Publishers of New Writing and Images |
 |  |  |  |  |
Some say the bane of Nollywood is that it is too commercial and obsessed with the bottom
line: profit. Is this a fair criticism? If so, what are your suggestions?
I think the habit of criticizing Nollywood as an industry because the participants are interested
in making profit is completely ridiculous. The film industry is an industry for a reason. It is
business. The success of any business is based on its ability to consistently turn a profit and
the margin of that profit is what distinguishes it from its competition. Hollywood is not a
charity. It is recognized as the most influential film industry because of its massive financial
returns. Why should Nollywood be any different?
The African Voices Cinema Series, founded by you, will have its maiden edition at this year's
AFIFEST. What motivated you?
The American Film Institute is a world renowned institution that is an industry leader in the
promotion of film excellence. Its annual film festival, AFI FEST 2006 presented by Audi is a
symbol of that longstanding tradition. AFI FEST has featured world-class presentations of
international films for over 20 years. Until now, however, they have never dedicated a series
to the presentation of African films; that is, films made by African directors, producer, and/or
writers who were born in Africa. Due to my personal affection for African films and my
understanding of the business that African films could generate, especially with the booming
success of Nollywood, I felt that it was imperative that we create an opportunity that allows
AFI FEST to expand its programming to include the talents of Africa.
Could you, please, briefly discuss the importance of the AFIFEST to African cinema,
generally, and, Nollywood, in particular?
Absolutely. There are a million festivals around the world and since they all serve their
respective purposes, I think there is space on the landscape for everybody. However, very
few festivals are distinguished and offer very unique, beneficial, and viable opportunities. In
the US there are three: Sundance, which provides American independents with a remarkable
platform; Tribeca, which is the premiere festival in New York; and AFI FEST presented by
Audi. AFI FEST is the longest-running film festival in Los Angeles. As the strategic partner of
the American Film Market (AFM), it is the first and only festival/market structure in North
America. More so, the partnership that exists between AFI FEST and the American Film
Market provides a tremendous opportunity for participating filmmakers to obtain financing
and distribution. Specifically, as participants, Nollywood producers and marketers would have
opportunities to sell their products to major film, studio and television outlets from around the
world. No other film festival in North America offers that benefit. That is what makes AFI
FEST unique.
It is common knowledge that film is America's biggest cultural export and foreign exchange
earner. What kind of 'enabling conditions' or prospects do you think the Nigerian
government could institute for Nollywood?
Unlike Europe and other parts of the world, American film production is largely a private
enterprise. It does not exist through government support. It primarily rests on the shoulders
of multi-national conglomerates that operate film studios, which are private businesses.
However, there are government-affiliated models throughout Europe, Latin America and
Canada that can serve as examples to Nigerian governing bodies. These structures provide
the necessary financial support that is crucial to a budding industry. For instance, if a
government body were to setup a development fund that would provide producers or writers
with the opportunity to spend more time developing a script before production and, possibly,
employ a consultant to assist with the development of the screenplay, the Nollywood industry
would move beyond its highly criticized plots to showcase tremendous creative possibilities.
This transformation will lead to other transformations, which will result in the overall and
long-term improvement of the products.
Without a doubt, building links across and among the Black Diaspora is fundamental to the
spirit of African Voices Cinema Series. How do you hope to actualize and sustain this ideal?
I think the key to the success of the African Voices Cinema Series is to move forward with the
spirit of inclusion. As a series, unfortunately, we will be forced to create an on-screen
program that will inevitably not be able to include everybody. However, it is my intention to
incorporate the contributions of the diverse peoples who represent all parts of Africa. As
such, I am currently assembling an Advisory Board that consists of members from America,
Nigeria, Senegal, Zimbabwe, South Africa, Ghana, Ethiopia, and Tanzania. With the help of
the African world community I intend to move forward with humility and let the process unfold.
Nollywood is still evolving and, no doubt, stands to benefit immensely from exchanges with
other global film cultures; so, what are your thoughts?
For some strange reason, people expect Nollywood to transform overnight. That's
unrealistic. Rome was not build in a day and it took God six days to create heaven and
Earth. So, I think people should remember that Nollywood is in its infancy and those people
who are interested in furthering its advancement should step up and concentrate on how to
contribute to its growth through, among other means, dialogues of collaboration. I look
forward to playing my small role and I encourage others to do the same. Thank you!
line: profit. Is this a fair criticism? If so, what are your suggestions?
I think the habit of criticizing Nollywood as an industry because the participants are interested
in making profit is completely ridiculous. The film industry is an industry for a reason. It is
business. The success of any business is based on its ability to consistently turn a profit and
the margin of that profit is what distinguishes it from its competition. Hollywood is not a
charity. It is recognized as the most influential film industry because of its massive financial
returns. Why should Nollywood be any different?
The African Voices Cinema Series, founded by you, will have its maiden edition at this year's
AFIFEST. What motivated you?
The American Film Institute is a world renowned institution that is an industry leader in the
promotion of film excellence. Its annual film festival, AFI FEST 2006 presented by Audi is a
symbol of that longstanding tradition. AFI FEST has featured world-class presentations of
international films for over 20 years. Until now, however, they have never dedicated a series
to the presentation of African films; that is, films made by African directors, producer, and/or
writers who were born in Africa. Due to my personal affection for African films and my
understanding of the business that African films could generate, especially with the booming
success of Nollywood, I felt that it was imperative that we create an opportunity that allows
AFI FEST to expand its programming to include the talents of Africa.
Could you, please, briefly discuss the importance of the AFIFEST to African cinema,
generally, and, Nollywood, in particular?
Absolutely. There are a million festivals around the world and since they all serve their
respective purposes, I think there is space on the landscape for everybody. However, very
few festivals are distinguished and offer very unique, beneficial, and viable opportunities. In
the US there are three: Sundance, which provides American independents with a remarkable
platform; Tribeca, which is the premiere festival in New York; and AFI FEST presented by
Audi. AFI FEST is the longest-running film festival in Los Angeles. As the strategic partner of
the American Film Market (AFM), it is the first and only festival/market structure in North
America. More so, the partnership that exists between AFI FEST and the American Film
Market provides a tremendous opportunity for participating filmmakers to obtain financing
and distribution. Specifically, as participants, Nollywood producers and marketers would have
opportunities to sell their products to major film, studio and television outlets from around the
world. No other film festival in North America offers that benefit. That is what makes AFI
FEST unique.
It is common knowledge that film is America's biggest cultural export and foreign exchange
earner. What kind of 'enabling conditions' or prospects do you think the Nigerian
government could institute for Nollywood?
Unlike Europe and other parts of the world, American film production is largely a private
enterprise. It does not exist through government support. It primarily rests on the shoulders
of multi-national conglomerates that operate film studios, which are private businesses.
However, there are government-affiliated models throughout Europe, Latin America and
Canada that can serve as examples to Nigerian governing bodies. These structures provide
the necessary financial support that is crucial to a budding industry. For instance, if a
government body were to setup a development fund that would provide producers or writers
with the opportunity to spend more time developing a script before production and, possibly,
employ a consultant to assist with the development of the screenplay, the Nollywood industry
would move beyond its highly criticized plots to showcase tremendous creative possibilities.
This transformation will lead to other transformations, which will result in the overall and
long-term improvement of the products.
Without a doubt, building links across and among the Black Diaspora is fundamental to the
spirit of African Voices Cinema Series. How do you hope to actualize and sustain this ideal?
I think the key to the success of the African Voices Cinema Series is to move forward with the
spirit of inclusion. As a series, unfortunately, we will be forced to create an on-screen
program that will inevitably not be able to include everybody. However, it is my intention to
incorporate the contributions of the diverse peoples who represent all parts of Africa. As
such, I am currently assembling an Advisory Board that consists of members from America,
Nigeria, Senegal, Zimbabwe, South Africa, Ghana, Ethiopia, and Tanzania. With the help of
the African world community I intend to move forward with humility and let the process unfold.
Nollywood is still evolving and, no doubt, stands to benefit immensely from exchanges with
other global film cultures; so, what are your thoughts?
For some strange reason, people expect Nollywood to transform overnight. That's
unrealistic. Rome was not build in a day and it took God six days to create heaven and
Earth. So, I think people should remember that Nollywood is in its infancy and those people
who are interested in furthering its advancement should step up and concentrate on how to
contribute to its growth through, among other means, dialogues of collaboration. I look
forward to playing my small role and I encourage others to do the same. Thank you!