Tunde Kelani is a top Nigerian film maker and producer. The veteran cinematographer speaks with SEGUN AYINDE on his experience with the scourge of piracy, and sundry issues in the nation’s film industry. Excerpts:
The Nigerian film industry is no longer as vibrant as it used to be. Some have attributed this development to recession. What do you think is responsible?
It is difficult to say. However, film production are not been coming out like before because the technology is changing and we are in the knowledge era; you don’t have to wait until you get home, neither would you have to get to the cinemas these days before you watch films. Now, you can watch films on mobile phones. So, there are several patterns for the distribution of contents. Perhaps, it may be true that films are not released regularly on the popular DVDs and CDs. Every producer I know now have their platforms on YouTube and they are uploading their films, sometimes for free on those channels. So, it is possible that DVD or CD may not be there for a long time. I don’t watch DVD, I don’t watch CD, I don’t watch anything that you have to insert into the machine and it starts rolling. No, that time is going. Things might probably not be the same anymore. So, people subscribe to channels and type the title of the film and it comes out right away. Even if you want to watch a Yoruba film, just type the title, and you are just watching it. I haven’t watched anything on DVD in the last five years. For me, I think it is no longer preferred anywhere. If you give me a CD music, I won’t have anything to play it with. Maybe it is still popular and as time goes on it will no longer be popular. You see, right now, Nigeria is at that point of digitalization services. So, everybody is going to have to set up boxes and certainly television is not going to be like before because of the new technology. We probably have access to maybe 100 channels. Just the way radio has gone, I don’t have any radio. I can listen to any radio station on my mobile phones. What you need is apps.
In the next 10 years, where do you see the film industry?
Ten years is a very long time. Even none of us can predict what will happen in the next two years. So, 10 years is a life time. Now, the digital world, there will be more demand for contents because all the platforms are open to all; many opportunities are open. You know hopefully, of course, Nigeria will be economically stronger and there will be more demand for the creative industry. So, I perceive grace; I perceive the creative industry contributing to the economic development of Nigeria in the next few years. In fact, Nigeria is still the next economic power house in Africa. The entertainment industry and the film industry will benefit and contribute to economic development.
How do you curtail quackery in the film industry?
It is not my business to curtail quackery. It’s the decision of the person who is buying. Why should somebody buy from quacks? I think it is a question for the consumer. It is a consumer’s decision as to what you prefer to buy with your money. But if you fall into the hands of quacks, then it is nobody’s business. It is the decision of the person that is buying.
We have seen Nollywood actors campaigning against piracy. What is your take on that?
I am a victim of piracy, because my films have been pirated. I have lost the business. Combating piracy is everybody’s responsibility, but the practitioners, stakeholders and the public, as well as Nigeria as a whole, must fight it. Otherwise, it is going to harm us economically.
There was a time all my films were pirated. In fact, the newly released Arugba and Maami were massively pirated and we never got the investment back. In fact, we lost everything. So, I haven’t released any film in the last five years. In fact, I have two films that we have not even released. Those are the effects of unchecked piracy
Are you saying you’ve lost so much to piracy?
Oh yes, I have. There was a time all my films were pirated. In fact, the newly released Arugba and Maami were massively pirated and we never got our investment back. In fact, we lost everything. So, I haven’t released any film in the last five years. In fact, I have two films that we have not even released. Those are the effects of unchecked piracy.
How do you want the Federal Government to fight piracy?
It is not just the Federal Government, it is something we should all fight. It is the responsibility of the people. If you don’t buy pirated copies, they will not do the business. That is the truth. Of course, legislation, deterrent, prosecution and all that have been going on, but more importantly, everybody must support the efforts to reduce piracy.
Why have we not seen the works of D. O. Fagunwa being converted to films?
We have been trying to do that over the years, but we have not been able to do a film of Fagunwa’s works because of technology. But now we have the modern day technology to do it. It is also about investment. There is no producer that would put his money where he won’t get something in return. I think we shall work
on that.
What advice do you have for Nollywood actors and actresses going into politics?
It is a good thing. Why not; why can’t they go into politics? It is their right, and because they are acting does not mean they can’t venture into politics.
What are the opportunities available for the youth of today in the film industry?
There are a lot of opportunities that they can tap from the film industry. Once they have the talent and are willing to do what they want with passion, of course, the Sky is the limit. They should follow their dreams and be patient and hardworking and, with time, they will be
great in life.
Now, who is Tunde Kelani?
Tunde kelani is a film maker and I have been in the media for over 40 years. I started with photography many years ago, got apprenticed, got employed in television, the former Western Nigeria Television in 1970. A nd I was trained as film cameraman, so I did a lot of television journalism. I was the Lagos cameraman for West Africa Nigeria Television and, after my training at the London Film School, I came back to work for many years in television; and when I became independent, I worked as the BBC service cameraman on contract, and also for Reuters. And then I began to form Mainframe Production and started to produce
films.
