My Kids Enjoy More Than Children Who See Their Father Every Day

Nigeria. Obviously, the government is trying to increase the GDP of Nigeria but they want reasons that will justify why you are taking your production outside the country. For instance, if you are doing a film on Nigeria’s Independence and you want to film the colonialists, would they ask you to film that in Nigeria? It is impossible. I think they were referring to studio-based shoot because if you want to do studio-based in Nigeria if the terms and conditions are good and the studio is good, it helps Nigeria and the economy to a great extent. I know how the South African film industry works. If the South African government is going to give you grants to do anything even if you are a Nigerian, they will make it mandatory that part of that money must be spent in South Africa. And a certain number of local cast and crew must be used on that project. This way, they preserve their culture, enrich people and the economy. I think this is what the Nigerian government wants to do.

A lot of people complain about the low quality technology used in Nigeria’s film-making. What do you think can be done to change the perception?

I think it has changed because recently a lot of stupid movies make money in cinemas because a lot of them have improved in production value. Technically, the movies are good but the storylines are wacky. But as long as it can make people laugh you are good to go. That is why sometimes I don’t understand Nigerian audience. You know people make so much noise about a film and when people experience it for the first four weeks even if they are not going anymore they have paid. But the lifespan of these films is for a short while. They are not films you will remember in a month to come. There are films like October 1, 93 Days, etc., that I consider evergreen. For instance, 93 Days didn’t make much money in the cinemas. It is a good film that you will remember in 10 years, while these other ones are for immediate consumption and they have served their purpose. For me, everybody would have their space. It depends on what you want to be remembered for.

How would you rate the financial value of a film and stage production?

Both are not based on the same pedestal. If you are talking about the film it depends on the level. If you watch Game of Thrones (a television series); one episode of Game of Thrones sometimes cost $13 million. We can’t even do $1million film in Nigeria. The parameter is difficult in Nigeria if you are to quantify how much it will cost. I think it depends on the magnitude of the play or film. That is what determines the budget. A good film is expensive. The least of the crew I have ever had on set is 50. I have to feed them for 30 days. I will accommodate them as well. As a creator, everything depends on what you want to do.

You are partnering some British Film Houses to retrieve some of your late father’s works. How far have you gone on this mission?

Well, I have been able to retrieve some of my father’s films in Britain a few years back. Before I made that move, the films had exchanged hands from one company to another. The good news is that after we retrieved three of my father’s films, there are still other Nigerian films there and I have been pushing to get those films out. Luckily, the company that acquired it from the previous company is willing to release those films to the filmmakers. There is Baba Sala film, Orun Mooru and Mosebolatan; there is Taboo by Ladi Ladipo; Itunu, by Gbenga Adewusi. It is good news. In those days, when you filmed in Nigeria you either went to the UK or America to print the negative. You had to take the step for it to be processed to film. Things like that don’t die and because it was done in a place like Britain they are still being preserved. It is a good thing for the country that a film of 40 years and 50 years are coming back to the country.

You have been doing endorsement lately for organisations like Peugeot and Air. How rewarding are they?

I have been doing the endorsement for quite some time. It is a privilege. That is what you get when you make a brand for yourself; you make yourself a brand or, you make a brand out of yourself. It is not something that is common for a filmmaker. But if you are an actor or actress or a musician, it is easy to justify. So, if a filmmaker can be endorsed it means that they see more to you than just being you. And this has helped my business.

How do you strike a balance being a father, husband and a filmmaker?

Well, I have been balancing it. They have not complained and it has to be like that forever. They enjoy more than those who see their father every day. What if I am there 24/7 and can’t provide for their needs? I am not an absentee father because I look after my family.