Nigerian cinematographer, MR.TUNDE KELANI talked to BAMUTURAKI
MUSINGUZI in Kampala recently about the trends of the African cinema. Excerpts:
Qn. Where do you drive the passion to make films with special emphasis on
African culture, customs and values?
I am primarily inspired by my cultural experiences. I was brought up in the
community and I am very much at home with my culture and how I have been brought
up. And the whole community has invested in me and in the rapidly globalizing
world I think that time is not on our side to try as very much as possible to
document aspects of our cultural experiences. I think we will lose out if we
don’t do something about such influences of orientation of not promoting our own
culture and certainly the issue of documenting of our culture is of primary
concern to me. I believe if we don’t do something now the next generation will
definitely suffer.
Qn. How would you describe the Nigerian film industry?
The Nigerian film industry can be described as some kind of empowerment of the
people. Its sustainable definitely because Nigeria seems to have struck the
right code with is audiences and has managed to start a revolution at home by
producing films particularly for its audience telling its own stories.
|
Qn. What has made Nollywood popular
in most African cities? And what can the
rest of the continent learn from this
experience?
Previously African cinema was defined by
outsiders that is African filmmakers
have been encouraged to make films that
are only popular at international
festivals and useless for the people at
home. I think things are changing
because modern technology has
democratized the means of production. In
the case of Nigeria, Nigerians
discovered that they have a voice and
can tell the story by themselves. What
is so unique with the Nigerian industry
is that it’s actually supported by its
audience, which prefers the Nigerian
films than Hollywood. So it’s a call to
the rest of Africa that we need as
artists and filmmakers to recognize the
needs of our people and to put their
interests as a priority in the process
of development. Development is about
people and we cannot be artists for
artist’s sake or filmmaker’s sake, we
must make films that our people clearly
identify with.
Qn. But film critics are up in arms
saying there are a number of sub
standard Nigerian movies. What could be
the cause and solutions?
Nigeria is very diverse and a big
country and so many films. You can even
classify Nigerian so called films or
videos in all sorts of categories or
genres. You can have people who prefer
horror, city, gospel or love stories.
Within the social and cultural context
it’s all valid because the audience is
demanding these things and its
responding to them and therefore the
people have a right to their particular
tastes. So whether good or bad the
important thing is that there is demand
for everything and that is why the
filmmakers in Nigerian are responding to
the needs of that particular audience.
Qn. What is your advice to Nollywood
to produce films that have an
international appeal but also telling
the African story much better?
Well it depends again on so many
factors. What are the economic
capabilities of these people, you know
this is a young private enterprise
industry. Therefore because of the
current economic situation in Nigerian
they have to work on very low budgets.
When filmmakers can sell more and reach
a sizeable number of Nigerians and get a
good return on their investment then the
audience can also demand for more
quality and standard. By all means the
Nigerian industry is not perfect, but
its part of development, so in future I
suppose that naturally the audience
itself should have some kind of consumer
association to be in position to demand
for more quality and standard.
Qn. How can African build a vibrant
cinema?
We are already on the way. The Nigerian
example is also debatable whether it can
be exported to other parts of Africa. We
can through co-productions and
collaborations and so on to build a huge
mass market. I think there is a lot of
hope for survival for the African
cinema.
Qn. Why are you against government
supporting the industry in Africa?
I am not against government support in
Africa all am saying is because of our
Nigerian experience the industry started
as a private enterprise and government
is now showing interest in our industry
and willing to support us. But with or
without government there is nothing that
can stop the Nigerian industry, but
together we would say we have arrived or
our industry has arrived. When
government supports private enterprise
then we can say that is the combination
we need. Government has its own
priorities and responsibilities and is
far much more useful in areas of
providing a conducive environment for
our industry to thrive. It’s important
for government for instance to provide
necessities like electricity, water and
regulations.
As to expect government to give us money
to make films, I think that depends on
the motivation and the orientation of
particular filmmakers because government
finding is not for free. Government
would prefer people who are willing to
advance its own agenda and if we are not
careful we will end up making propaganda
films and leave creative control in the
hands of government and therefore lose
our independence. I think that the
importance for us in accepting
government support we should be critical
of what kind of support we receive.
Qn. In your view what are the major
challenges of African cinema and how can
be overcome?
Well we have various challenges and I
think the most important one that
confronts us is the issue of funding.
Once we go beyond funding then we shall
begin to look at the content of the kind
of films we make. We have to solve the
problem of language because we do not
speak the same language. We also have to
look at issues that concern us as
artists all over African and how
collectively we can move on.
Qn. You have a number of films to
your credit like Sawroide, Thunderbolt
and Abeni. Is there any one of these
that stands out as your best?
All my movies have been experimental and
at a particular time they will mean
something in my journey and career as an
African filmmaker. The films I have made
are all important in my career. Last
year I celebrated an end of an era and
seemingly I have started all over again
to plunge into the next era of my
career. And that means using available
digital resources and technologies to
improve on the quality and standard of
my productions. So I suppose that they
have all posed a serious challenge for
me on any part of the way.
Qn. Why is that you have taken on the
role of overseeing the distribution of
your own films in Nigeria?
Well again just as the diversity of the
Nigerian cinema itself the distribution
is also diverse. For me personally as a
filmmaker I operate a mobile cinema
project. Before I release any film on
video circuits I make sure the film is
screened as far and wide for the benefit
of the audiences who might not have
access to video equipment or even
electricity. It is certainly easy to
conceratrate on the city dwellers and
forget that the rural dwellers also have
a need to information and entrainment
and that is primarily part of my own
function. It is true that I rarely take
money from marketers rather prefer to
rise my own funding mainly because I
Iike to be independent and have rights
to what I do. I am not under any control
or kind of pressure, and I think this
adds a bit of professional value to
whatever I do.
Qn. What would you wish to be
remembered for in African cinema?
Well it’s a very difficult question fro
me because it sort of puts a finality to
what I am doing and it’s wrong because I
am still active in the field. It’s true
I may belong to what young people may
classify as old school but again by
virtual of my being conversant with
modern technologies I am still very much
relevant. The father of African cinema
Senegalese Ousmane Sembene is still out
there and very many other senior
colleagues so it will be premature of me
to want to say, oh this is what I want
to be remembered for and I have elders
in front of me. This is not the right
question for me. The right question
would be, what would you be best most
likely to be doing in the next five
years?
Qn. When should we expect your next
film?
I have just finished shooting a film
called Akoni which is a follow up to
Abeni and I have a new film which
premiered at this year’s Amakula Kampala
International Film Festival called The
Narrow Path. I am in pre-production for
the next film which will be called
Dragon Lions Trail. I am sure before the
end of this year I should have one or
two more films.
Qn. What is it like being part of the
entourage of General Yakubu Gown that
was overthrown while in Kampala for the
OAU summit in 1975?
I was part of the television crew for
the OAU meeting in Kampala when
President Gowon was overthrown in a
military coup. My greatest task was how
to face and greet a president who was
just been disposed. I remember he was on
the 8th floor of a hotel in Kampala I
cannot recall. A professional colleague
and I entered the lift of the hotel and
it’s the longest lift ride that I have
ever taken in my life. When we got in
Gowon’s room he was gracious, smiling
and almost cheerful and that completely
put us at rest he even suggested that we
hold a press conference in the hotel’s
lobby. I remember recording his address
saying the world is a stage and we have
all come to play our part. As far as he
was concerned he had played his part.
And he appealed to everyone to go back
home and support the new government.
|
|
|
|
