Showing posts with label home videos. Show all posts
Showing posts with label home videos. Show all posts

Tuesday, July 12, 2022

Nollywood Must Stop Producing Many Crappy Movies

Nollywood Must Stop Producing Many Crappy Movies

The popularity of the phenomenon of Nollywood was based on overproduction of cheap home videos widely distributed and pirated in Nigeria and neighbouring countries in West Africa from VHS tapes to DVDs on the streets before the launching of cable TV channels between 2001 and 2004 and then uploaded by several authorized and unauthtorized people on YouTube from 2005 ; followed by the launching of Ibaka TV and iROKOtv in 2011.

The proliferation of low budget home videos in Nigeria made Nollywood the second largest producer of movies in the world after the Bollywood of India;  making news headlines all over the world and attracting both International vendors and investors. 

The biggest video streaming services in the world led by Netflix and Amazon are now competing for the best of the film and TV productions in Nollywood which compelled the producers to improve the quality of their movies to satisfy the criteria for international acquisition and distribution. But quantity is still the focus of the majority of producers and the production of substandard movies is doing more harm than good to the sustainable development of Nollywood and the Nigerian film industry.

The productions of cheap movies have left the few cable TV channels and streaming services saturated with movies which subsequently reduced the market value of Nigerian movies in comparison to South African, South Korean, Mexican and Indian movies in international acquisition and distribution. 

The frequency of productions in Nigeria is increasing the crappy movies in both Nollywood and Kannywood that I am ashamed to watch many of the movies with even top A-List actors. 
Did the highly esteemed actors read the screenplays before acting their idiotic roles? Or the temptations of being paid hundreds of thousands of naira made them to skip and waive professional standards?

We have submissions of hundreds of Nigerian movies and yet international buyers can only accept less than 20 movies every quarter. 

Many producers are now selling their movies for less than the costs of the productions. 

Is it not embarrassing to spend more than N3 million naira to produce a movie in Lagos, Asaba or Kano and you end up selling it for less than N500, 000 for two years on a local TV channel?
The local TV stations are now rejecting many movies, because they are saturated with dozens of movies and series submitted to them.
The local TV stations don't need to produce original movies and series, because they are cheaper to acquire from hundreds of unsolicited movies and series sent to them. 

It is not good to produce more than 1, 000 movies every year, but we can only count the best on our fingertips.


- By Ekenyerengozi Michael Chima,
Publisher/Editor, 
NOLLYWOOD MIRROR® Series,
Tuesday, July 12, 2022.
247 Nigeria (@247nigeria) / Twitter


Buy books by Ekenyerengozi Michael Chima on 

https://www.amazon.com/author/ekenyerengozimichaelchima


Wednesday, June 22, 2022

The Unusual Story of Nollywood

CLICK HERE TO BUY THE UNUSUAL STORY OF NOLLYWOOD

The Unusual Story of Nollywood by Dr. Chika Christian Onu

Description

Through the mouths of credibility, the author exhumes the buried artifacts of the long-earthed stories of Nollywood. Together the mouths weave a shocking tale of film expectation through the ages of unimaginable discoveries in the North, East, and West of the country Nigeria. The Unusual Story of Nollywood is a didactic document that x-rays the seminal movie Living in Bondage and exposes the cluster of information that may not have been intentionally hidden from the public. The book is an array of simple and complex paragraphs, systematically organized groups of small and large sentences, phrases, and quotes. The book is simply expressionistic as it goes straight to appreciate both positive and negative precedence that precipitated the birth of Nollywood in Nigeria.



Tuesday, July 20, 2021

Nollywood is Not Hollywood

#movietheaters

#cinema

#movies

#moviegoers

#Hollywood

@theacademy

@amctheatres

Having a cinema is one thing; attracting moviegoers to the cinema is another thing.

- Ekenyerengozi Michael Chima

Nigerian film distributors and exhibitors banking on the followers of the A-List actors on Instagram and Facebook has not attracted majority of them.to the movies they featured in. Because, many the actors buy followers, views and likes and majority of the  followers are not going to the cinemas to spend N4000 to watch a movie that they can watch later on #Netflix with a subscription that is not up to N3000 monthly, including hundreds of other movies and series.

70% of the #Nollywood movies playing in the cinemas in Nigeria are actually teleplays without cinematic quality. 

Dramatic scenes are often mistaken for cinematic scenes in Nollywood. And actors having a  shouting match in a scene is not an #Oscar performance, but may be good enough for an #emmy . Nollywood is not Hollywood.🤩

Frankly speaking, Nollywood movies are best viewed on @netflix, @showmaxonline and cable TV channels.

- Ekenyerengozi Michael Chima.

Tuesday, November 3, 2020

The Highest Paid Nollywood Actors in Asaba


Asaba, the capital city of Delta State in the South-South region of Nigeria is the new hub of Nollywood, the first and largest indie film industry in Africa known for the productions of thousands of home videos. 

In Nollywood Rising: Welcome To Asaba, I said that the city has overtaken Lagos in the production of movies. And the highest paid actors (both male and female) in Asaba are among the highest paid and richest actors in Nollywood and the Nigerian film industry.  

The highest paid actors in Asaba, include Jerry Amilo, Yul Edochie, Zubby Michael, Mercy Johnson Okojie, Ebele Okaro, Ngozi Ezeonu, Patience Ozokwor, Chika Ike, Tonto Dikeh, Destiny Etiko, Mike Ezuruonye, Ken Erics Ugo, Stephen Emeka Odimgbe, Chacha Eke and Regina Daniels.















These actors are being paid between N1 million and N5 million per movie. And they are earning more money than several of the A-List actors in Lagos city.

- By Ekenyerengozi Michael Chima,
Publisher/Editor,
NOLLYWOOD MIRROR®Series
247 Nigeria (@247nigeria) / Twitter
https://mobile.twitter.com/247nigeria
https://www.amazon.com/author/ekenyerengozimichaelchima

Friday, June 10, 2011

Viva Riva, Beyond the Nollywood Fever and Palaver



Viva Riva, Beyond the Nollywood Fever and Palaver


This weekend as the Congolese gangster thriller Viva Riva opens in theatres in Los Angeles, U.S.A, it should be a wakeup call to Nollywood that what matters most is not the quantity of your movies, but the quality in Art and craft of filmmaking beyond the get-rich-quick syndrome of churning out cheap home videos of Nigerian comedies and tragedies from Idumota to Onitsha.

When Djo Tunda Wa Munga’s "Viva Riva" beat the best Nollywood movies at the 2011 African Movie Academy Awards (AMAA), many of the Nigerian filmmakers were humbled. But how many of them learnt the real lessons of the event? They preferred to rush back to their business as usual in Nollywood and having premieres of their amateurish flicks at the Silverbird Cinemas where their posing and posturing on the local red carpet is the best they have been able to achieve so far, while the man from the war torn Democratic Republic of the Congo has gone ahead of them to make history with his "Viva Riva" as the first Congolese feature to find distribution in the U.S. I wonder if any Nollywood flick has achieved that. And Congo where French is the main official language, plus four official indigenous languages: Kikongo, Lingala, Swahili and Tshiluba from “400 different tribes with 400 different ways of thinking. And, there are more than 200 ‘living’ languages,” according to Munga, with no acting schools and no "Congowood". In fact for most members of the cast, it was their first film credit.


Chineze Anyaene

Is it not amazing that the best film from Nollywood is "IJÉ the Journey", a New York Film Academy thesis feature film by Chineze Anyaene who has won 12 awards, including the Golden Ace Award at Las Vegas International Film Festival and the Melvin Van Peeples Award at the San Francisco Black Film Festival. In fact she even claimed that "IJÉ the Journey is the first standard Nigerian made Hollywood film" and do you blame her when like most people Nollywood is being mistaken as the best we can boast of from the Nigerian film industry since majority of our youths and even journalists are ignorant of the history of filmmaking in Nigeria and never knew that "Palaver" was the first Nigerian film shot in Jos, Plateau State, in 1904. But "IJÉ the Journey" is just one of the best Hollywood standard features done by Nigerian filmmakers who were making fantastic world class films for the cinema in the 1970s and 1980s. From Dr. Ola Balogun to Afolabi Adesanya and other notable veterans of the Nigerian cinema now mistakenly erroneously and ambiguously dubbed “Nollywood”. And I have already addressed this in my previous articles on Nollywood, so there is no need to over flog it again.

The once popular cinema culture is gradually being revived by Ben Murray-Bruce through his expanding Silverbird Cinemas and others building new cinemas all over Nigeria. And the real filmmakers are now redefining Nollywood by taking up the challenge of making features that can compete with the best in the world.
Majority of them have gone through the New York Film Academy. Faruk Lasaki, Kunle Afolayan, Stephanie Okereke, Chineze Anyaene, Chika Anadu and others who are going to take Nigerian films to compete with the best at the Cannes, Oscars and other major centres of the film world. But we need to address the problem of intellectual ignorance and professional arrogance plaguing Nollywood.



Many of the stakeholders are doing more harm than good to Nollywood by engaging in activities questioning the dignity and leadership of the Nigerian film industry.
They have also dragged their associations into partisan politics and promoting cash-for-vote and cash-for-news coverage sharp practices with many of them rubbishing and tarnishing the public image of the Nigerian film industry.

Piracy is still rampant and counterfeiting is being practiced by notable Nollywood stars who have been accused of copyright infringements like the desperate but futile attempts by a faction of Nollywood producers to hijack the duly registered Eko International Film Festival with the unethical support of their accomplices in public office.

My personal experience is quite revealing in the case of the counterfeiting of Eko International Film Festival by the mercenaries in Nollywood who have been abusing and misusing their professional associations for their greed and ego trips. But I have dismissed them since they have been found wanting in facing the real business of filmmaking and raking up ethnic differences and tribalism in their primordial divide and rule tactics to cause north-south dichotomy and east-west dichotomy in Nollywood when what matters most is promoting what is best for the Nigerian film industry and giving the necessary cooperation and support to those with the best intentions for the advancement of Nollywood, no matter your state of origin, in fact no matter where the person comes from, even from the moon or mars.

Only backward and narrow-minded people would be banging their office desk and going round the bend over why an Igbo should be the owner of a film festival in Lagos with the Yoruba name of "Eko"?
Would they also go bananas that my popular pen name "Orikinla" is Yoruba, because I am Igbo or question why I created "Òmó Iya Osùn" the mystical girl in "Boy Adam Floats Headless In The Thames"? Of course they are ignorant of the fact that my father grew up among the Yoruba Ijebus of Ogun State in the western region of Nigeria, became a Babalawo versed in Ifa Divination, was also an Ogun priest with an Ogun shrine in Obalende on the Lagos Island and was a prominent member of the Ogboni society. And he brought me up with deep knowledge of the mythology and mysticism of the Yoruba culture and religion until he passed on. I knew enough to be the first Nigerian artist to mount an installation of Ogun shrine and Opon Ifa in an Art exhibition hosted by the Friedrich-Ebert-Stiftung on the campus of the University of Lagos in 1992, based on my late father’s paraphernalia of Ogun worship and Prof. Wande Abimbola’s book on Ifa Divination.

The search for knowledge knows no boundaries.
Before Oduduwa there was Ifa. And before Adam, our lord Jesus Christ existed and still existing as explained in the book of John 1:1 of the Holy Bible.

Only ignorant, uneducated and uninformed people will question why two Igbo men should be the founder and owner of Eko International Film Festival in Lagos or anywhere else in the world. Anyone could have been the founder, owner or whatever. What matters is not who discovered or founded a property, but how beneficial it is to you and me, regardless of class, colour, creed, tribe or race.

In conclusion, may I advise all the stakeholders, aficionados and well wishers of the Nigerian film industry to look beyond their local competition in Nollywood, put aside their evil greed and foolish pride and let us do our best to support whatever will benefit Nigeria and the rest of the world.


~ By Ekenyerengozi Michael Chima