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Posts Tagged ‘Tunde Kelani’

Over the weekend, Tunde Kelani and his dedicated crew completed their 170th slate. And with many more characters and scenarios to shoot, the production of Dazzling Mirage is not even yet on the home stretch. This gives you an idea of how many minute fragments it takes to compose a feature-length film. As each “slate” identifies a new camera position, a new angle from which to gaze on the action of the scene, you can also get a sense of how much time is involved in capturing these small fragments. In the past, Nollywood producers could not afford to take the time on set necessary to shoot a scene in such detail, which gave early Nollywood films their characteristically slow pace: long takes with lots of dialogue. Kelani, on the other hand, who was trained as a cinematographer, has always had a particular appreciation for storytelling through image making.

Kelani adjusts the settings on the monitor, checks composition and lighting. © Connor Ryan

Kelani adjusts the settings on the monitor, checks composition and lighting. © Connor Ryan

A cast with notoriety: Lala Akindoju, Taiwo Ajai Lycett, Bimbo Manuel. (And Bisola Ojo - continuity.) © Connor Ryan

A cast with notoriety: Lala Akindoju, Taiwo Ajai Lycett, Bimbo Manuel. (And Bisola Ojo – continuity.) © Connor Ryan

Dazzling Mirage - Sarafa Abagun

Cinematographer Sarafa Abagun changes the lens before second take. (Seun, Sarafa, Jelili, Kelani.) © Connor Ryan

Sarafa Abagun, pictured above, got his start as an assistant cameraman at Nigerian Television Authority (NTA) in 1979, almost three years after Kelani had become a cameraman for the nation’s only television station at the time. In 1995, Sarafa left NTA to freelance on commercial advertisements and to work with Kelani’s Mainframe Studios shooting footage for BBC and Reuters. I asked how shooting for a film like Dazzling Mirage differs from shooting an advertisement. As it turns out, there is no difference. In terms of capturing a particular style of image and using a certain set of standard shots, the film “language” is the same, as Sarafa put it.

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About a month ago, the folks at Nollywood Workshops announced, in conjunction with the Lagos State government (LSG) and Innovate Lagos, a very promising project for the formalization and ongoing advancement of Nollywood film production. The aptly named Nollywood Upgrade Project is poised, now, to make a real impact on the state of financing, distribution, and production in Nollywood. All the right parties are involved including LSG, Nollywood Workshops, the Coalition of Nollywood Guilds and Associations (CONGA), a number of Hollywood filmmakers, as well as some of Nollywood’s finest talent like Tunde Kelani and Kunle Afolayan.

In recent years, Nollywood has seen a handful of projects aimed at formalizing key aspects of the industry (financing, distribution, technique), but with mixed success.

Nollywood UP stands apart for its focus on the core of the industry, its veteran filmmakers, those who hold the skills needed to make significant adjustments to the way films are created in Nigeria. This is a promising opportunity for any interested filmmakers, and I strongly encourage industry stakeholders to get involved.

I am pasting the call for applications below:

Apply now!

Lagos State Government/Nollywood UP Training December 3 – 7, 2012.

http://www.nollywoodup.com

The Lagos State Government – through the INNOVATE LAGOS project and Nollywood Workshops – are pleased to announce the launch of the first phase of the Nollywood Upgrade Project (Nollywood UP). The Nollywood UP Training will be held in Lagos for 100 Nollywood professionals from December 3rd – 7th, 2012. Applications close November 20th, 2012.

The training is free for all attendees. The Nollywood UP Training Application is now live at http://www.nollywoodup.com

Nollywood UP will invite selected applicants to participate in workshops including Cinematography, Screenwriting, Post-Production, Directing, Sound, Acting and The Business of Film and Distribution, taught by leading global film professionals. Filmmakers will be selected to participate through a competitive and transparent application process that considers their experience, skills and willingness to train others in the industry. The Nollywood UP Training will serve to strengthen the industry and support Nigerian filmmakers to withstand the impact of piracy.

The Nollywood UP Training has been designed in partnership with Coalition of Nollywood Guilds and Associations (CONGA) to address current gaps in the Nollywood’s capacity. Heads of Guilds and industry stakeholders had a major input in the design of the training curriculum to ensure maximum relevance for the industry.

The Training will consist of Master Classes that cover key elements of directing, camera, lighting, sound, producing and the creative process, along with new strategies in financing and distribution, helping filmmakers harness the power of digital video to achieve high quality results. “Cutting edge training satisfies both the need to raise production quality and to capitalize on new distribution opportunities, while increasing professionalism and growth throughout the industry. Our training will also present an opportunity for Nigerian filmmakers to collaborate with peers from Hollywood and other film industries”, said Bond Emeruwa, Chairman of CONGA.

The training is organized by Nollywood Workshops, a global NGO that empowers independent filmmaking through training and production. The Nollywood UP Training team includes seasoned Hollywood and Nollywood filmmakers and film educators, including Tunde Kelani, Kunle Afolayon, Cinematographer Ed Gutentag (credits include War of the Worlds, Austin Powers, Forrest Gump), Actor Ekpenyong “Kepy” Bassey-Inyang, Screenwriter Lee Zlotoff (MacGyver), and Producer Robert Caputo (National Geographic) among others. Stay tuned to www.nollywoodup.com for ongoing news about Nollywood UP Training staff and highlights. 

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As part of their new initiative to make public art in a global context, Creative Time commissioned the Scandinavian artist Jakob Boeskov to make a film within the Nollywood community. The result was Dr. Cruel and the Icelandic Liberation Front, an eight-minute short that premiered in May 2010 at the New York African Film Festival of New York.

The film, which Boeskov wrote and co-directed with the Nigerian director Teco Benson, recalled traditional Nollywood productions with its grainy film quality, elementary special effects, and supernatural plot twist. The storyline revolves around a Scandinavian terrorist (played by Boeskov), who arrives in Africa to “start a revolution.” He kidnaps a white oil executive (played by Boeskov’s brother) and demands as ransom the participation of the entire Nigerian police force in anti-violence training.  When negotiations are thwarted, the terrorist resorts to an absurd escape plot, effectively abandoning the spirit of his original goals. The film closes with a somber voice-over: “Our man didn’t change Africa, but Africa changed him.”

While the artistic intent and underlying political message of the film are too complicated to address summarily, it is easy to identify the overall significance of the project. Dr. Cruel is the latest in a recent wave of collaborations between the international arts community and Nollywood (which includes the 2009 Pieter Hugo photography exhibition and the 2004 AFFNY Tunde Kelani film retrospective). This film was funded by Creative Time and the Danish Arts Agency, and the screening was organized in collaboration with AFFNY and NollywoodNYC.

The global recognition of the Nigerian video film industry means that the medium is finally getting its deserved respect. Boeskov openly states his admiration for Nollywood’s DIY culture, contrasting the accessible  nature of its democratic film-making with the arduous three-year-long funding process for his first project.  As Boeskov commented to the audience during the premiere, “Cinema is the only universal language that we have.”

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