By Toyin Akinosho
The Nigerian Filmmaker Femi Odugbemi has a large place in the Africa Magic Universe.
In the last six years, he has executive -produced three long running soap operas, all of them broadcast on prime-time TV on weeknights (every evening on the 8pm to 9pm slot, save for weekends).
Battleground (May 2017 to September 2018), Brethren 2019-2020 and now Covenant (2022- ) were/are originally featured on the premium channel 151, christened Africa Magic Showcase, which means a viewer has to subscribe to DStv Premium to have a front row to these pictures.
That’s ₦24,000, or roughly $31 every month, to watch the shows fresh from the production studio.
Without that down payment, a viewer has to be content with the repeats, on the “lesser” Africa Magic channels (152, 153 etc), after the originals have had their rounds on the premium channels.
For Nigerians born and weaned before 1990, it is important to put Odugbemi’s “ownership” of this space, in context. Each of these soap operas take the time allotted to Cock Crow at Dawn, Village Headmaster, Mirror in The Sun and Masquerade, which were the dominant TV series, broadcast just before the ‘Network News at Nine” in the heyday of NTA, before the transformation of the structure of the Nigerian film and television in the early to mid -1990s.
So if there is any parallel today to Peter Igho, the eponymous NTA “General Manager” Production, to whom most of the state owned broadcaster’s “block buster” series were credited as ‘Executive Producer’, it is Odugbemi.
But there are vast differences, one of which is that Igho produced weeklies, whereas Odugbemi is producing dailies.
The logistical grind -for a producer-associated with delivering Battleground, Breth
Of course, I am minded of the fact that it was Odugbemi’s company which pitched Tinsel, which has run for over 3,000 episodes (on weeknights) since 2008.
I am interested in the evolutionary process through which a trained filmmaker arrives at a point at which he focuses this much on the business of the show.
In a third world environment where employment-boosting manufacturing is undermined by the rentier instincts of the political elite, thinking of scale from the perspective of culture production is a refreshing part of the discourse on nation building.
I begin this part of the interview from the point where Odugbemi, a 1984 graduate of film and television production from Montana State University, USA (1979-1984, had served as President of the Independent Television Producers Association of Nigeria (ITPAN) from 2002-2006. He had had his apprenticeship at NTA, as well as a number of advertising agencies, including Lintas and ST Mccan.
Bookartville: So…by the time you became ITPAN president, you had founded your own company?
Femi Odugbemi: Not yet, I had founded a company in partnership with Uncle Steve Omojafor. We had started something called Audio Visual Files. I was the founding managing director of Audio-Visual Files and that was when I became president of ITPAN.
At what point did you then move on to start DVWorx?
I started DVWorx Studios some..four years, after erm..Audio Visual Files and that was a consequential decision for one simple reason. I wanted to experiment with what was going on at that time in the equipment of production, in the digitization of content. We were moving from analogue equipment format to digital equipment format hence the name of the company was DVWorx, which meant “Digital Video works”. At that time there was a lot of skepticism about how digital video would work. We were going from equipment that was this big to smaller equipment and there were a lot of professionals, who had this disdain for the digital direction. I couldn’t do that with a company that the board was not entirely mine. I wanted to be able to be free to try my hand at how this was working. As president of ITPAN, I’d been able to collaborate with the French and travelling a lot to France to see what was going on, I was convinced that the digital future, was the future. I’d been lucky enough to be selected as one of the producers of the MNET New Direction Films. I was selected to do ‘Mama Put’ and I shot it on 16mm film but I went to do post production in Paris and that journey became my turning point in terms of how I have embraced the digital direction, technology and forms of story telling. It was very clear to me at that time that going into the future, there would be miniaturization of equipment, production. There would be stronger innovation in terms of what capacities the cameras, lighting had. What impact technology will now play in the tools of storytelling. I was very certain that the digital future, was the future and so it was very easy for me to make that journey and it was a journey that opened up my carrier.
Now that MNET New Direction also had Mahmood Ali Balogun, Tajudeeen Adepetun, Tunde Kelani, so was that your first film?
It was my first major project with a major budget. ‘Mama put’ I had a budget of a $100,000..
So what you’re doing, running the MNET Talent Factory is like, giving back?
In many ways…yes. That opportunity marked a different stage of my career. It marked a certain public trust in my capacity as a film maker. A $100,000 way back then was a lot of money, we talking about 1999, year 2000. It was something to which I think, all the film makers that got opportunity to be producers of New Direction have also said, that it marked a change, a pivot in their careers. Mahmood has been here em, he was at the opening of this school and he reminded me that in fact, since the death of Amaka Igwe, it’s just me and him, who are the only surviving New Direction’s producers, who were still working, actively. Which is very strange, I mean Tajudeen runs his broadcast empire now. Yes, for me this is taking New Direction to another level, bigger level, to a logical conclusion, that is not just giving opportunity for you to kick start your creative career, but to kick start a profitable creative career. What was missing in what I got from New Direction is that creative entrepreneurship, which is now embedded in what we are doing here (at MNET Talent Factory). Besides at the time it was an intermittent thing, it was a programme that was an intervention. This is an institution and we hope that it’s an institution that would constantly create the kind of creative entrepreneurs, who would not only make films but would make a point making films and will make a profit-making films.
Let’s go to what you then did after that Mama Put, Was MAROKO your first full length feature film?
Yes.
After which, you then did a string of documentaries?
I did some shots, quite a few shots actually I did Bar Beach Blues, I did quite a few. There was one called Eto Aje. I did a couple of shots, then I did quite a string of documentaries because I had begun on a certain journey. At that point in time, I now had some measure of financial stability to begin to make films, that I could fund myself.
So that financial stability didn’t come from making films, it was coming from what DVWorx was doing?
Yes, it was coming from making a lot of high-end TV commercials, it was a point I could use my experience from the agency, with my experience from film and make a production company that was well focused and well recognized and well respected for making big budget TV commercials, and then I could take my profit from that and invest it in the documentaries, that I wanted to make at the time.
Documentaries won’t make money for anybody but films like MAROKO, did you ever make money from them?
At that time it was difficult. We were trying to showcase what had happened to the Maroko citizens. Our first goal because, remember at the time there were no film theaters to go. So we premiered at the Lagos Boat Club and I remember that, Makin Soyinka help me to bring Professor Wole Soyinka. Jahman would have told you, we showed it at the Lagos Business School Hall; we screened it in those kinds of opportunities; we screened it at the Lagos International forum on video and film, we made a French version and took it to the francophone countries. But if you note that we really basically made that film for under ₦5Million, you could say eventually, we kind of broke even, we took it to New-York. But my goal at the time was really to bring the issue to the fore and I think we got people talking about it. There were many articles written about Maroko because that film was made and because someone of WS’s stature also came to endorse the film. It gave me a lot of satisfaction. But did we make huge money? No, not in the context of how money is made today, in film. At that time it was not funded by Idumota, it was not funded by Iweka Road. It was a film about an issue and I was glad to make it.
DVWorx is supposed to be stuff that does commercials, which generate money. You then set up three other different companies, which look like they are for filmmaking. So how does a filmmaking company work to generate significant income?
Well, effectively we read what’s going on. We follow the evolution of the industry. DVWorx was born out of that evolution. The technology was evolving and it was clear that the digital format, was the future and we did that for five years and just at the time we were the equipment rental company, we built up these resources. But five years down the line, it was clear to me that the industry was evolving, Nollywood was on a stronger footing, distribution was emerging, where cinemas were beginning to come back, There were many more people who were empowered, creatively, there were many more writers, actors, there were many more resources, if I wanted to start doing feature films, but beyond that, the economy of the space was now accountable. It used to be that, the man who funded the film and lives in Idumota and sells in Idumota decided or told you how many DVDs was sold, there was no way to verify but with the cinemas things were changing and I thought that the economy was beginning to be inviting.
Now of course, at the same time television was expanding. Now the private TV stations had started showing Nollywood films and in fact, it was a staple of cable companies, like African Magic. African Magic was also now beginning to license, local producers and commission them to make projects. Which is at the point at which it was important to me to once again, read what was going on and to decide, if that vehicle was going to continue to be valuable to us. For me it was important also to be diversified. I’d done two things at that time and we bid for ‘Tinsel’ and Tinsel was going to be commissioned.
As DVworx?
We had a special purpose vehicle for it and that special purpose vehicle at the time, what did we even call it, we call it something 24. Everything that I do seems to have a 24[giggles] around it. But that was in partnership with, with Jaye Ojo, and with Lemmy Adebule, a friend of ours, so we’d set up this thing for ‘Tinsel’. But it was clear to me, that DVWorx, if I was going to do features and I was going to television, I would not have the time to actually deliver the kind of quality in TV commercials that I needed to. We needed to reinvent ourselves and you know we did a business plan that I think worked. Remember It was at the same period that I went to Fate Foundation business school and I’d acquired a bigger understanding, than a production company that was linear in its income source. It was important to me that we needed to diversify our income source to also have a presence in film, a presence on TV, a presence in the different, you know,..
We needed to reinvent ourselves and we did a business plan that I think worked. Remember It was at the same period that I went to Fate Foundation business school and I’d acquired a bigger understanding, than a production company that was linear in its income source. It was important to me that we needed to diversify our income source to also have a presence in film, a presence on TV, a presence in the different, you know,..
What year did you go to Fate Foundation Business School?
2004 and it’s..
…but that was a long time before all these happened?
Well, all of these…it..it drove all of these[giggles]. It drove all of these because my understanding of business came from there. And it’s interesting to me that in 2010, when Fate Foundation was celebrating, its 10th anniversary, I believe, I was selected the most successful entrepreneur that was an alumnus. And that was because, I’d taken a lot of what had been taught and reinvented and I think it takes a bit of courage, but I think most of the time, what it takes, is a reading of what the industry is doing. I think there’s a lot of creative people, that are so insular that are not actually reading the questions that technology is asking of each industry, and it’s not just the creative industry, technology is asking questions of scientists is asking questions of those in the petroleum sector, is asking questions of even those who are in academia and technology is fast forwarding a lot of thinking that used to take a lot of time.
But, Fate Foundation would not be, I mean in 2004, they wouldn’t be putting this on the agenda, I mean am not sure..?
They did! Remember that Fate Foundation was founded by the man that founded Guarantee Trust Bank. And if you look at the principles upon which he built the bank, you would understand the kind of principles upon which he created the curriculum at Fate Foundation, and its entrepreneurial mindset, that takes a look at the landscape and finds innovative opportunities but is not afraid to constantly reinvent itself. If there’s anything I took from that it was that courage to not only look at myself as looking for money to eat, but as creating entities that will create food for many people to eat. But sustenance In terms of relevance in that industry is always connected to what the trends are economically, what the trends are technologically, what the trends are in terms of its outlet, It’s connection, to what you call its consumers or its customers.
So tell us after Tinsel, you then thought about ‘oh, we need to quickly make money from another, let’s go and..’?
Well, the industry was expanding at a good rate..
How did Battleground come around, I mean..?
Battleground is,..you pitch for these things and it’s also a lot of…we created an entity that was clearly to be able to take up project like that, and I think that’s very important.
You don’t have to be in the creator of the…?
No, no, no, you don’t, ‘Tinsel’ was created actually by Yinka Ogun. Battleground was a workshop in which many people were involved but actually spearheaded by Femi Kayode. The truth of the matter is the originator of the idea, he’s acknowledged, always acknowledged but the production is the big dance. There are many, many ideas all over the place. It takes a production company that is correctly constructed with the skills necessary to deliver at a certain quality and a company like Africa Magic, that is willing to invest the amount of money that would deliver that quality.
So that big fat space in Lekki Phase 1, is actually controlled by Zuri Media or something..?
Well, it’s were we shot, it’s simply, location and we shot 401 episodes.
So, Zuri 24 has worked on two , three similar projects after Battleground…
It’s an opportunity to place on table an experiment that combines all my experiences and to bring to the table, the singular understanding that I think that a creative person does not necessarily lack capacity to understand business and that if we are going to succeed, the compound word ‘show business’ must be explored in its fullness I.e. we must teach young passionate a filmmakers, how to do the best possible creative work. At the same time, pay attention to the business of the business and understand how investments work. Why are some people given a commission to make a project and some are not? What does it take to plan, you know, what is project planning, how does it work? How do you not only create things on the fly but plan the creativity over a period of time?. But also, how do you invest? How do you make sure that the work, works for you as a person such that you are able to have a savings you able to have assets, that ensures that you are continuously, working. Your capacity to be relevant in the industry is actually more connected to your business sense than your creative sense. Because there are so many creative people in Nigeria today, we are so blessed that for every creative product you deliver, there are 5 to 10 people delivering creative products that are just as innovative and your capacity to continue to work to be consistent in delivering things is connected to your capacity to finance and fund. What is the work you’re doing?
What was the outcome of Gidi Blues? It looks like that kind of film, you know, that is basically telling you to solve the country’s problems, whereas a lot of people just want to escape by watching 10 Days in Jamaica..?
As the industry, evolves we all building brands. There is no brand that does not have an audience. There are those who like the comedies and film must answer to their needs, film is for entertainment as well. I just feel like that, there is also an audience for the kind of films that I make. Why? Because there are also people that understand that as filmmakers we have a bully pulpit. We have opportunity to do more than entertain, perhaps we can also intervene. Especially in a country that has many conversations that need to be heard and when people go to the cinemas, they are quite attentive.
If there’s anything I took from that it was that courage to not only look at myself as looking for money to eat, but as creating entities that will create food for many people to eat. But sustenance In terms of relevance in that industry is always connected to what the trends are economically, what the trends are technologically, what the trends are in terms of its outlet, It’s connection, to what you call its consumers or its customers.
And what we’ve done between Maroko and ‘Gidi Blues is that, we’ve also learnt, how to wrap the truth, in a, shall we say, more entertaining and sly packages. Gidi Blues is for all intense of purposes, a romantic, em..love story. Love story with a lesson in there, about our relationship to environment, how do we give back to this environment, do we wait until we are wealthy before we can lend a hand to the less privileged and then that’s what happens in that film. But you also enjoy the love story. And there are many people who went to watch the film and actually only got themselves entertained, found themselves entwined in the love story, enjoyed it and they were done with it. But then there were people also watched it who also decided that oh, you know what, for the first time I’m seeing Makoko a little more closely and this school that is there, is it for real?
I had friends who actually went there and volunteered to be teachers; I had friends who went there and paid for outboard engines and boats to help the students. I feel like it’s not an either-or proposition that, you can be both entertaining and reflective and I hope that as a cinema industry grows, we will begin to pass on important values for the development of our community and our cultures and through cinema because it has the power. For me, I also think it’s important to understand that I’m not looking to make, you know, the ₦500Million from making one film; it makes no sense. I have learned to be able to make the film for a modest budget, make the best film I can with a modest budget with almost a guarantee that I will break even. And because I do intend to be around a while, I am hopeful that in the fullness of time, you know, the bouquet of the works that I do will begin to form a library. Film is a lifetime property, whatever film.
If I decide to release Maroko today, they would have been people who hadn’t seen it and for them, it will be new. If we decide to re-release it in 10 years’ time, there will be those who are never heard of it and it will be for them, new. So, I’m hopeful that, you know, with, with stronger foundations, for the companies that I run, we are able to continue to leverage this asset into the future.
How much do you typically invest in what I would call your satellite movies? What I mean are movies that are not a Femi Odugbemi directed, but produced by your company: e.g. Eve, the Cold Willow, 4th Estate, ‘Missing Pages’, what do you typically put in them…?
It depends on what the budget and the story is. First and foremost, understand that we are providing opportunities for young directors, to get a chance to tell their story. We are providing opportunities for large crews to work. For me, the kind of story it is, determines the kind of budget we’re going to put on it, but the budget we put on it must be a budget that would create the most excellent film at the best cost. We don’t throw money at projects because we also are professional enough to understand how to budget.
So how do these people get your money, um?
They don’t get my money… See, a Cut 24 film, for instance, invite a director on board. We don’t give money out, we invite the crew, we produce. I am not an executive producer at arm’s length. No, I am not an Idumota version of…no, no, no, no, no. We work the stories, we understand the process. We’ve done this over and over again. That’s what executive producers do. They’re not money bags. They’re actually storytellers. (BookArtVille)
