Nollywood and The Academy Awards

In light of the recent media exchanges between the Nigerian Oscar Selection Committee (NOSC) and Nollywood filmmakers, which have expressed concern among Nigerians over the country's lack of representation at the 2023 Oscar, Victor Okhai, President, Directors' Guild of Nigeria (DGN), has recommended filmmakers focus on making and creating wonderful films rather than engaging in any internal conflict that would distract from this.

When the first Academy Awards ceremony was held in 1929 to honour films released in 1927 and 1928, no mention was made of foreign-language films. The Academy of Motion Picture Arts and Sciences (AMPAS) created the Foreign Language Film category in 1956 and invited film industries across the world to submit their best films. Since then, the Academy has given the IFF Award to a feature-length motion picture produced outside of the United States that has 80% or more non-English dialogue.

 

 The Foreign Language Film Award Committee is in charge of overseeing the process and reviewing all films submitted. Following that, they vote by secret ballot to choose the five award nominees. The first recipient was the Italian neorealist film "La Strada," whose citation stated, "The high quality of this motion picture, brought to eloquent life in a country scared by war, is proof to the world that the creative spirit can triumph over adversity." The outstanding quality of this motion picture, brought to expressive life in a war-torn country, is testament to the world that the creative spirit can triumph over adversity," helped establish Federico Fellini as one of Europe's most influential directors. Similar awards were given out in subsequent years. In the following years, similar awards were given to seven other films.

 

During the early post-war era (1947–1955), eight foreign language films received special/honorary awards. Academy leader and board member Jean Hersholt argued, "An international award, if properly and carefully administered, would promote a closer relationship between American film craftsmen and those of other countries".

Eight foreign language films got special or honorary honours during the early postwar period (1947–1955). Jean Hersholt, a member of the Academy's board of directors, stated, "An international prize, if properly and carefully administered, would create a stronger interaction between American film professionals and those of other countries."

 

The International Feature Film award, in contrast to other Academy Awards, is given to the submitting nation as a whole rather than to a specific person (although the film's director does accept it on stage).

 

Since the Chineze Anyaene-Abonyi led Nigerian Oscar Selection Committee (NOSC), registered under the laws of the Federal Republic of Nigeria as "The Oscar Selection Association of Nigeria," a cultural organisation whose aim is to recognise and promote the art of cinema by exhibiting Nigerian films and filmmakers to the Academy Awards, popularly known as the Oscars, for the category of Best Foreign Film, the committee has submitted two Nigerian feature films to the Academy of Motion Picture Arts and Sciences Awards.

 

The academy's board of governors agreed on April 23, 2019, that the category would be renamed Best International Feature Film, commencing with the 92nd Academy Awards in 2020. It was stated that the term "foreign" was "outdated within the global filmmaking community," and that the new name "better represents this category, and promotes a positive and inclusive view of filmmaking and the art of film as a universal experience." This category will also allow animated and factual films.

 

Nigerian filmmakers approach their craft differently because they are all driven by the desire to win the Oscar rather than by the need to ensure that the films they are submitting to the International Feature Film (IFF) category of the Academy Awards are technically and artistically up to par.

 

To be eligible for the Academy Awards, a film must also meet a number of additional requirements, such as being dominated by the native language of the country it represents, being released during the calendar period mandated by the Oscars, having appropriate English subtitles, and having been seen in cinemas or theatres for at least seven days in the nation it represents before being shown on streamers like Netflix, Amazon, and terrestrial television.

 

In 2019, the Academy of Motion Picture Arts and Sciences caused a stir by disqualifying the first Oscar entry from Nigeria's massive film industry. The submission of the film was seen as a watershed moment for the country's film industry, known as Nollywood. It's a film called "Lionheart," which is Genevieve Nnaji’s first directing debut that met every other requirement, and it was disqualified from the International Feature category because the 95-minute film "Lionheart" is largely in English, with an 11-minute section in the Igbo language. The decision prompted widespread outrage and criticism in the Nigerian, British, and American film industries, like Ms. Ava DuVernay, director of "Selma and A Wrinkle in Time," with many blaming colonialism rather than Nigerian filmmakers. Others sided with the Academy, arguing that the rules for the best international feature film applications are well defined.

 

The Executive Committee for the International Feature Film (IFF) category of the Oscars confirmed in January 2021 that Nigeria's official entry, "The Milkmaid," a Hausa language insurgency thriller produced and directed by Desmond Ovbiagele, was eligible after submission in December 2020, along with other contenders for the 93rd Academy Awards. Nigerians' expectations, however, were dashed once more when it failed to make the first shortlist of the 15 foreign films chosen for the International Feature Film category.

 

In a sense, the fact that European films are already produced in foreign languages gives them an advantage, especially those in languages like German, French, Spanish, or Italian, even though they are currently not in very good shape because they don’t have the places to distribute the films. Unlike Nigeria, that has a clear open market.

 

The fact that Nigerian films are not eligible for submission at the awards ceremony is due to a number of factors impeding international attention, including a lack of funding for collaborations and technical support from foreign institutions. Meeting minimum tech specs and strict adherence to the requirements for qualification and submission instead of whipping up sentiments remain a basic challenge.

 

Prior to the establishment of the Nigerian Oscar Committee in 2013, Nollywood productions frequently failed to meet the technical requirements of a cinema film due to the emphasis on home videos. However, with the emergence of multiple streaming platforms, they appear to be more promising, but it remains to be seen how far and sustainable the current trend will last.

 

The Nigerian film industry is attempting to demonstrate that it can compete favourably with other developing film nations throughout the world. However, even if the quality of Nollywood productions improve, an Oscar nomination or win is not certain as we continue to drag ourselves out there, especially when the Oscars are coming up.

 

The Oscars are merely a marketing game in which anyone who can attract attention can win. The quality of films at the Oscars will not depreciate, as good films will always stand out. National interests should take precedence over personal interests, as the Oscar is not the beginning and end of the world. Nigerian filmmakers should focus on making good films and, as much as possible, avoid dragging ourselves before the Oscars.

 

Nigeria is not the only nation embroiled in controversy over the submission of an ineligible film. Film critics and other interested parties are also upset and perplexed about Egypt's failure to submit any movies for the International Feature Film Award.

 

In nearly 75 years, just three African films have won the Oscar for best foreign feature, and despite the enormity of Bollywood's film industry, India has never won the award for best international film. The category is dominated by Europe. The last time a film representing an African country garnered a nomination was Kaouther Ben Hania's "The Man Who Sold His Skin," which represented Tunisia at the 93rd Academy Awards earlier this year. After being nominated with "Yesterday" the previous year, the South African film "Tsotsi" won the Oscar for Best Foreign Language Film in 2006, one of the few times the prize went to an African country. South Korea's entrant, Parasite, became the first international feature film winner and the first non-English film overall in 2020.

 

The fact that Nigerian films are not eligible for entry into the awards ceremony is due to a number of issues that prevent worldwide recognition, such as a lack of funding for partnerships and technical assistance from foreign organisations to give the film a global appeal following the subject it's treating and a lack of government support to fund the producers and directors to hit the international market. Making movies is an expensive endeavour, and like with any investment, a clear path to returns must be provided.

Few people are ready to accept the chance, especially given the abundance of safer ways to profit.

 

Can we begin by winning top film festivals, where we can compete on the global stage with the best? Can we focus solely on winning our at own top film festivals? The world, like our colleagues in music, accepted and applauded our stars before the Grammys. Quality comes first, followed by recognition. With the kind of production that has been coming out of the business in recent times, we are well on our way.

 

The Oscars will find us at the right time if we focus more on the work that we do. The recognition that we get from the work that we do is far more valuable than any validation that will come from any external source. 

 

Writers Converge in Lagos as IFBA, LSFVCB Holds Screenwriting Workshop

By Perekeme Odon

In light of the need for capacity building and a higher level of professionalism in the Nigerian motion picture industry, A 5-Day intensive Master Class in Screenwriting workshop by the International Film and Broadcast Academy, Lagos, Nigeria has distilled the essential elements from the world's best screenwriting programmes to create a super-intensive screenwriting workshop.

The workshop, which was a partnership between the International Film and Broadcast Academy (IFBA) and the Lagos State Film and Video Censors Board (LSFVCB), was held at 13 Simisola Street, Surulere, Lagos on June 13-17, 2022 and received over 100 submissions via email from aspiring screenwriters with little or no screenwriting experience who wish to improve their storytelling skills and explore the fine art of writing visual narratives.

 

According to the lead resource person, Mr Yinka Ogun, President, Screen Writers Guild of Nigeria (SWGN), and a screenwriting mentor whose credits include ‘Tinsel, Oloture (Netflix original), Your Excellency, The Royal Hibiscus Hotel, who openly expressed his respect for the organizers and Mr Victor Okhai was excited with the turnout and hailed the outcome.  “They have been equipped to go out there and excel as storytellers. The sky can only be their springboard going forward."

 

Mr Ogun affirmed that “But hey, I have a lot of respect for Mr Victor Okhai as a practitioner, director and film proprietor. Screenwriting is getting better with each passing day. If more people dedicated their time to improving themselves personally, I think that we will soon arrive at a very good pace and soon have good writers."

A Session With Participants

With strict adherence to the rituals of writing and learning, the workshop concentrated on the professional development of various aspiring screenwriters in the film and television industry who can work in a fast-paced, high-pressure, focused and experienced environment to seasoned career writers, as recommended by Mr Victor Okhai, President of the Directors Guild of Nigeria (DGN), and participants had the opportunity to develop a fully structured outline for a feature-length screenplay, including several completed scenes, and complete short.

 

Mr Kingsley Omoefe, former Vice President, Directors’ Guild of Nigeria and one of the participants who are not strange to IFBA organized workshop appreciated the moves taken by IFBA and LSFVCB to equip writers in the industry. “It’s quite an insightful, interesting and impactful programme which I benefitted a lot. It couldn’t have come at a better time than this time. Mr Victor Okhai is a perfectionist and wants everything to be done rightly, and that translates to whatever he’s doing. He did the best in the person of Mr Yinka Ogun, our resource person who is an experienced writer, and one of the best creative screenwriters in Africa. For LSFVCB to partner with IFBA shows how credible the institution is, and very important for Lagos state to want to take the creative industry to the next level.”

(l-r) Mr. Yinka Ogun, Mr. Victor Okhai & Mr. Kingsley Omoefe

2022 Overall Winner of Aforevo Nollywood Screenwriting Competition, and the N1 Million winner, Cosmos O. Abasi expressed his excitement about his participation while commending the organizers for their contribution to the success of screenwriting in the film industry in Nigeria.

 

“I thank the organizers, LSFVCB and IBFA for doing a great job to put this together, and I wish stuff goes into several other departments of filmmaking.  The training has been novel, exciting, interesting, educating and sort of an eye-opener, because I’ve learned a lot about different kinds of pitch decks from the resource person, Mr Yinka Ogun, and our amiable DGN president, Mr., Victor Okhai. So now, I can conveniently say, I know how to pitch.” He stated.

 

The President of the DGN, Mr Victor Okhai, who was enthusiastic about the workshop, remarked that the method of storytelling through screenwriting is both an art and a science. According to him, the workshop is intended to be a quarterly event as we have several ongoing classes and master classes in directing, production, cinematography, art design, and costume and makeup.

 

“This workshop is supposed to be a quarterly event, as we have several ongoing classes and master classes on directing, producing, cinematography, art designing, and costume and makeup. We must learn the art of storytelling and master it, but you need to know how to package them so they can pitch them successfully to potential investors and platforms to get funding to the next level.“

(l-r) Mr. Yinka Ogun, Mr. Victor Okhai & Mr. Cosmas O. Abasi

The DGN President explained that human stories are stories that every human being can relate to, and if you know how to tell them well, regardless of the setting and location, people will relate to the story, exactly how you do it with some movies will never be forgotten even growing up as a kid.

 

“Screenwriting is both an art and a science. Everyone is capable of speaking, but not everyone can captivate an audience. Anyone can write, but everyone can write the kind of material that holds audiences captive for more than 90 minutes in a dark room. You cannot do magic if you have a brilliant director and a poor script. People will relate to a tale if it is told well, regardless of location or climate, much like with some films that you will never forget even as a little child. Human stories are stories that anyone can relate to.” Okhai stated.

 

Okhai also expressed gratitude to Mrs Bukola Agbamiloja, Executive Secretary, Lagos State Film and Video Censors Board and the Lagos State Governor, Mr Babajide Sanwo-Olu for their proactive support for Nigerian filmmakers.

AMVCA 2022: DGN Congratulates Members, President Okhai On Their Victories

By Perekeme Odon 

After a two-year hiatus, on Saturday night, the 8th edition of Africa's most prestigious film award, Africa Magic Viewers Choice Awards made a huge comeback, honouring some of the best in the African film business, including three members of the Directors Guild of Nigeria (DGN), West Africa's most prestigious creative guild, whose members shone like bright stars for their professional excellence in cinematic directing at the Eko Hotel & Suites, Victoria Island, Lagos.

 

Like a torrent of water, the DGN INTERACT WhatsApp platform went ablaze as encomiums of testimonies and accolades poured on Ramsey Nouah, Izu Ojukwu, Robert Peters, Charles Inojie, Uzodinma Okpechi and Emeka Amakeze on their wins at the 2022 AMVCA awards by members of the guild.

 

Nigerian actor and director Ramsey Tokunbo Nouah Jr led the pack and received significant accolades from members for his back-to-back feat as the 2020 AMVCA Best Director with 'Living in Bondage,' and 2022 AMVCA Best Director of the Year for the 'Rattle Snake.'

Ramsey Nouah Jr.

 

Nouah's acting career began with a role in the Nigerian television serial opera Fortunes. After appearing in a few Nigerian home videos, he made his significant screen debut in the well-received 'Silent Night' in 1996. (Now widely known as Nollywood). He has since starred in a number of films as the leading male, earning the nickname "Lover-Boy" for his many amorous roles.

 

Ramsey Nouah Jr, in 2010 and 2017, won the Africa Movie Academy Award (AMAA) for Best Actor in a Leading Role for his roles in the films "The Figurine" and "76."

 

In 2015, he bought the rights to Kenneth Nnebue's 'Living in Bondage: Breaking Free' for a possible remake in Europe, America, and Nigeria.

 

In 2019, he made his directorial debut with 'Living in Bondage: Breaking Free.' 'Living in Bondage: Breaking Free' won seven Africa Magic Viewers Choice Awards in 2020, including Best Director of the Year.

Uzodinma Okpechi

The Guild celebrated Uzodinma Okpechi, who rose from computer graphics to editing, producing and eventually directing on his first attempt at Above Death in 1998, to "More Money, Brave Men, Rebels, Eyes In The House, Turntables, Kamsi,'' and finally directing and winning Best TV Series (Drama/Comedy – The Mystic River) at the 8th edition of the 2022 AMVCA.

 

The Colorado film school alumnus's practical contributions to the entertainment and creative industries as a film director over the last two decades will definitely inspire a new generation of creatives.

 

Charles Inojie, an actor best known for his comedic roles, writer, and director of the award-winning 2012 debutante family sitcom, with over 1830 episodes, "The Johnsons," a Nigerian television series produced by Rogers Ofime, and aired on Africa Magic, whose story revolves around a middle-class Nigerian family and the struggles and challenges they face to survive in Lagos, won the Best Africa Magic Original Comedy Series (Johnson) at 2022 AMVCA.

Charles Inojie

Since his first film as an assistant director, 'The Wind,' starring Eucharia Anunobi, Ebele Okaro, Zulu Adigwe, produced by Ojiofor Ezeanyanche (OJ Production) and directed by Fred Amata in 1999, he has established himself as a notable man and a niche figure in the country's entertainment sector. Inojie has influenced many families as Mr Lucky on the popular family show.

 

Members also applauded Izu Ojukwu, 2007, 2008, 2009, 2017 AMAA Best Director of the Year and 2017 AMVCA Best Director of the Year, for directing ‘Amina,’ winner of the 2022 Africa Movie Viewers Choice Awards for Best Overall Film (AMVCA).

 

Izu Ojukwu is a Nigerian film director, cinematographer, screenwriter, and editor who have won numerous awards. He is the director of 76, a Nigerian historical feature film released in 2016. In 2002, he was invited as a resource person to teach guerrilla filmmaking at Vassar College in New York. In the end, he went to film school in the United States.

Izu Ojukwu

Izu's first film, ‘Moment of Bitterness,’ was released in 1996. ‘A Home Too Far' (1997), ‘Eva, the River of Mystery (1998),’ and a slew of others followed. He went on to produce award-winning films like ‘Sitanda’ (2006), ‘Across the Niger’ (2007), ‘The Child’ (2009), ‘76^’ (2016), and ‘Power of 1’ (2017). (2018).

 

Nigerian film producer, director, cinematographer, actor, and occasional voice-over artist, Robert O. Peters also got applauded for his direction on ‘Voiceless,’ a Hausa film for Best Indigenous Film – Hausa.

 

Robert Peters is best known for directing the 2014 Nollywood breakout film '30 Days in Atlanta,' as well as the films 'Shades of Attractions' (2015), 'Boxing Day' (2016), and 'A Trip to Jamaica' (2016), starring Ayo Makun, Ramsey Nouah, Richard Mofe Damijo, Vivica Fox, Funke Akindele, Nse Ikpe-Etim, Desmond Elliott, and Chet Anekwe.

Roberts O. Peters

Peters began his acting career in Nigeria in the 1998 film Mama Sunday before moving to the United States in 2004 to pursue a diploma in Visual Storytelling at New York University. Peters was subsequently connected with Atlanta-based Film Career Connection, which provided him with on-the-job training on various film sites across the country. At REDucation, he received hands-on training on Red cameras and equipment from pros for existing and future professionals. In 2006, Peters began working as a cinematographer and film editor on a number of African-American films.

 

Emeka Amakeze, a Nigerian actor, producer, director, scriptwriter, and television personality from Nijkoka Local Government Area in Anambra state, received a standing ovation for his visionary direction on the film 'NNEKA,' which won the Best Indigenous Language (Movie or Series) Igbo film at the 2022 AMVCA.

Emeka Amakeze

In 2000, the handsome, talented, gifted and highly creative Nnamdi Azikwe University, Awka Linguistics graduate joined Nollywood, and burst into the limelight in 2004 with his spellbinding performance in the film "Royal Package."

Emeka has received multiple nominations, including Best Actor in a Supporting Role at the Africa Movie Academy Awards (AMAA) and Best Actor in a Leading Role at the Africa Magic Viewers Choice Awards (AMVCA). The Eagles (2016), Stay Dead (2020), Earth Goddess (2020), and Game of Fate (2022) are a few of his directing efforts.

 

Members also commended the DGN President, Victor Okhai on his outstanding performance, as the Head of Jury at the 2022 AMVCA awards.

Victor Okhai

 

In his reaction, President Victor Okhai was filled with joy and pleased in his congratulatory remarks to the winners.

 

"This is a major award and a momentous occasion for the guild. On so many dimensions, these visionary filmmakers are pioneers. Over the last two decades, they have expertly amused our society and culture as brave and passionate storytellers. While they are no strangers to tremendous commercial success, they are also the lifeblood of independent film-making, with innumerable filmmakers hailing them as mentors and inspirations."

 

"Even if the event has passed, you should continue to commit your time to educate future generations of filmmakers on how to leave their mark. Congratulations, as we at DGN are ecstatic with your achievements," Okhai stated in his statement.

Ramsey Nouah Jr.

 

Up Close With Ovunda Ihunwo As He Rekindles 'Hopes Of The Living Dead'

By Perekeme Odon

On October 1, 2021, one of Nigeria's greatest cinematic theatre directors, Chief Dr. Ovunda Ihunwo fta, will produce 'Hopes Of The Living Dead'. a play written by Prof. Ola Rotimi, with his theatrical group at the Garden City, Port Harcourt stage.

Dr. Ovunda, a dramatist from Rivers State, is a professionally trained actor, musician, and senior lecturer in the Theatre Arts Department at the University of Port Harcourt. He is a member of the Directors' Guild of Nigeria (DGN), and a Fellow of Theatre Arts (fta).

He's been tearing up stages and screens, serving up human-centered and politically charged performances that address contemporary issues affecting the family and Nigerian political system. In this interview with PTV Media, Dr. Ovunda reveals the secret to his successful career and upcoming play production.

Chief Dr. Ovunda Ihunwo

PTV: What primary, secondary and tertiary institutions did you attend?

 

Ovunda: I attended Air Force Primary School Port Harcourt, but sat for the First School Leaving Certificate Examination at Community Primary School, Olanada, Rivers state, and proceeded to Government Comprehensive Secondary School, Bishop Crowther Memorial Secondary School, and Army Day Secondary School, Bori Camp, all in Port Harcourt. I attended the University of Port Harcourt where I had my B. A. Theatre Arts, M. A. Film Studies and PhD. Film Studies.

 

PTV Media: As a kid, what did you want to be when you grow up?

 

Ovunda: I wanted to be a musician. So I looked forward to studying music but my parents would have none of that. It took some struggle and rebellion before I settled for Theatre Arts.

 

PTV Media: You are a professionally trained actor, dramatist, film director and lecturer. What ingratiated you to live drama/stage production, and why a drama of struggle with Hopes of The Living Dead, a play that symbolically illustrates the question of our society's plurality to be performed on Nigeria’s Independence Day?

 

Ovunda: Live drama for me, still has that electrifying feel because of the instant feedback it gets. It also toughens the actor and gives him the latitude to express himself artistically. As for my reason for choosing to stage Ola Rotimi's Hopes of the Living Dead on Independence Day is to awaken our consciousness because we have become a people groping in the dark. Nigeria is now like a rudderless ship heading for the precipice. There is the need for us to search for purposeful and selfless leadership that can steer the ship in the right direction.

Francis Duru and Charles Inojie

PTV Media: Oddly, Ola Rotimi is still a familiar name to many Nigerian Theatre Arts students, lecturers in Theatre Arts departments in Nigerian Universities, and theatre enthusiasts in Nigeria. Can you throw a few lights about the playwright?

 

Ovunda: Funny enough, I never met him but I have heard and read so much about his strong personality and commitment to the growth of theatre. I have been privileged to produce and direct a number of his plays too.

 

PTV Media: Hopes of the Living Dead by Ola Rotimi dramatizes and illustrates the historical pre-independence years during the Leprosy’s' Rebellion of 1928-32 with the struggle of the characters to attain a right to exist live in dignity in society. It also tells us through the use of language situated within a historical context clearly depicting the struggle in the context of an inter-relationship between leadership and followership. Why did you choose a play that captures fear, resoluteness and determination, and why Port Harcourt where the story is set with Harcourt Whyte?

 

Ovunda: Well, it could have been anywhere. Port Harcourt, Lagos, Abuja, etc, but Port Harcourt is my base. In fact, we have plans to stage this play in Abuja and Accra too. My reason for choosing this play is that we have come to that time when the people must take their destiny into their hands and demand leaders that can be held accountable in all facets of society. If the revolution begins in Port Harcourt, others will hear it and take dressing.

Ovunda Ihunwo

PTV Media: Hopes of the Living Dead is a unique drama easy to follow because of its heterogeneous blend of many Nigerian languages used in the dialogue. Ibibio, Hausa, Yoruba and Igbo are among the languages spoken by the characters. Are you going to use your directorial licence to infuse more visible languages due to the way the Nigerian state is going on?

 

Ovunda: Sure! It depends on what language my actors are fluent with. In this case, I added Ekpeye and Esan languages.

 

PTV Media: Ekpeye and Esan languages? That’s so thoughtful of you. Don’t you think Ola Rotimi drew on personal experience as a defender of the downtrodden, by commissioning himself in Hopes of the Living Dead to show his dislike to the Nigerian post-independence leaders merely using the leprosy plot as an alibi?

 

Ovunda: You may be right. That’s why the play still remains relevant today.

 

PTV Media: In many parts of Africa, songs, mime, and dance are all part of the theatre, and the playwright demonstrates all that in the play to understand the characters' and society's cultural sensibilities. How are you going to achieve that?

 

Ovunda: I’m a music lover. It is difficult for me to stage any play that is not total theatre. Hopes Of The Living Dead has a lot of Harcourt Whyte songs, and we have done justice to them in such a way that the audience will not only be entertained with good drama but will also be enthralled with great classical music.

(l-r) Charles Inojie, Ovunda Ihunwo & Francis Duru

PTV Media: Stage or theatre production is very painstaking. While Ola Rotimi obviously has high expectations for the people around him, it's also evident that he was able to overcome the variety of forces that worked against his works. Do you believe in the charge theory of Ola Rotimi during rehearsal when he said, 'Those who show up (for the first rehearsal) remember - in theatre work, my bargain is that of the devil himself: you volunteer your person, I insist on your soul, till the production is over?

 

Ovunda: I’ve been privileged to work with very committed artists. The realities have changed today. You can’t insist on the soul of a hungry man who also has bills to pay. So, I try to be as flexible as possible but with every sense of theatre discipline.

 

PTV Media: A film director uses the size of the shot to focus the audiences’ attention- a close-up being the way to give the biggest impact. The actor will be directed to move across the stage to get the audience to focus on that line of dialogue. The proscenium is the biggest difference, but I still want to ask what kind of stage would be befitting for a production like Hopes of The Living Dead?

Ovunda: In 2018, I staged Hopes Of The Living Dead at the University of Port Harcourt Arts Theatre (Crab), on a Thrust Stage. This time around, the Arena Events Centre, Port Harcourt has a proscenium stage. So it can work anywhere. All the director needs to do is to make necessary adjustments in the blocking.

 

Francis Duru

PTV Media: A director is someone who collaborates with the actors and the production crew to bring a script to life for the viewers and audience. What is the difference between a theatre director and a film director, and what are their responsibilities. 

 

Ovunda: The responsibilities are the same; directing, interpreting and making sure that other collaborators key into the overall vision. The difference is in the technicalities.

 

PTV Media: How was the audition and casting of the play, Hopes of The Living Dead? Did you table cast or handpick the actors already in mind?

 

Ovunda: I had an audition and hand-picked some key actors.

 

PTV Media: It’s like you took an eye-catching and impactful design in this production with the casting of known popular Nollywood A-List actors like Francis Duru and Charles Inojie into the production. Is it for the box office show or for professionalism?

Ovunda: Apart from being A-List actors, Francis Duru and Charles Inojie are theatre artists and graduates of Theatre Arts from the University of Port Harcourt. It’s like a homecoming for them. You can’t also rule out the box office effect.

PTV Media: I want you to share an effective directorial approach to working with a large cast and crewmembers. How has your approach affected your rehearsals?

Ovunda: I always set out what I want to achieve for every rehearsal. I have a chat with my choreographer if there has to be dances, and tell him what I want. I don’t like long rehearsals. For that reason, I segment the play and concentrate on each segment for rehearsal. My cast is always comfortable with my pattern.

Charles Inojie

PTV Media: Describe a time where you had to fire someone because they weren't the correct fit.

Ovunda: I have not had that experience. However, I have had to fire a lot of actors who think they are indispensable to deter others.

PTV Media: What are the most difficult production problem you had to solve?

Ovunda: I had great challenges when I staged production in Cairo, Egypt. I could not communicate with the lighting technician. To solve the problem, I re-blocked the play, dispersed out some of my lines and turned the rest to voice-over narration. Then, I had to man the lighting booth and did the voice from there.

PTV Media: How do you balance your work and private lives, because I can see you live both lives simultaneously?

Ovunda: That’s the beauty of our work na. We enjoy what we do. So, where others see stress, we see fun while working.

PTV Media: What was casting like in the production, Hopes of The Living Dead?

Ovunda: My main challenge was in cutting down on the number of cast and crew. Everybody wanted to be part of it, but I had to use music as a criterion. Casting was based majorly on voice texture and the ability to sing.

(l-r) Charles Inojie, Francis Duru & Cast

PTV Media: With such a large cast and crew, how do you establish and enforce rules in your rehearsals?

 Ovunda: If a director is disciplined, enforcing rules cannot be a heinous task, whether with a cast of five persons or a hundred. I show the way; my phones don’t ring during rehearsals, I keep to time, and comport myself even in my own production. Members of the cast don’t have a choice but to do likewise.

PTV Media: Please, can you share an example of how you helped coach or mentor someone, and what improvements did you see in the person's knowledge or skills?

Ovunda: As an actor trainer, I make sure that my students and mentees have adequate training in theory and practice. I teach them that packaging helps talent. I also engage them in meaningful productions that challenge them, as well as help them pay some bills. Most of them have not disappointed me. Today, I can conveniently give them a project and be assured of their delivery. 

PTV Media: What is your dream collaboration in acting and directing either on stage or screen?

Ovunda: My dream collaboration is getting an international agency to fund a world tour, and participate in as many theatre festivals as possible.

 

PTV Media: Yes, production is a collective and collaborative venture. However, which actor playing a particular character are you rooting at to make the play come to life?

Ovunda: it is hard to say for this production but Harcourt Whyte has a lot of work to do. I trust him to deliver.

PTV Media: Who are the sponsors behind this great show coming up on October 1^st 2021, and where is the venue?

Ovunda: This production is self-sponsored. Though, of late, we got some support from Fartrek Travels, Daayra Limited, and Grid. We also have media support from media houses in Port Harcourt.

PTV Media: What plan are you making to charge the town and gown together to make one holistic creative family?

Ovunda: We have been in it and it’s working.

PTV Media: What advice do you have for the government concerning the Nigerian theatre industry?

 

Ovunda: Let Government create a conducive and enabling working environment, and support works of art. For us in Rivers State, we are blessed with a Governor that loves the theatre and has shown tremendous support to artists of whom I am one. We still hope that he does more like establishing community theatres in other parts of the state.

 

PTV Media: What advice do you have for parents of kids who want to be actors, musicians and directors like you?

 

Ovunda: Do they still, need advice? I doubt it because the number of students seeking to study theatre and film is growing in leaps and bounds. Our works and achievements have given enough advice.

PTV Media: Describe the next five years of your life and your plan.

 

Ovunda: By The Grace of God, in the next five years, I would have become a Professor. I plan to establish an academy where I can train and breed professionals. I also plan an international theatre like I mentioned earlier.

 

PTV Media: If you could pass on one message to your fans, what message would that be?

 

Ovunda: Hard work and consistency pays. Be good at what you do, and light will shine on you someday.

 

PTV Media: I wish you all the best of luck come October 1, 2021.

 

Ovunda: I appreciate you for this beautiful interview. The pleasure is mine. Thanks a great bunch.