From The Guardian:
Our own member, Abulu2000 in Nigeria promoting FAN. Remember I had an exclusive interview with him and FAN here:
http://www.naijarules.com/artman/pub...ticle_28.shtml
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From America with love for Nollywood
The determination on the faces of the quartet was visible that late afternoon. But for Tony Abulu, president of the Filmmakers Association of Nigeria, FAN (U.S.A.), the whole thing goes beyond determination-it is a conviction that the critical problem plaguing the Nigerian film industry has been solved with the founding of FAN. Now, local filmmakers can sit back and enjoy the fruit of their labour as the United States-based association will through their efficient network, ensure that their works are distributed in the States. The association also aims at reducing to the minimum, piracy of Nigerian movies as well as movies from other African countries. Abulu, producer of the internationally acclaimed film, Back To Africa and Ms Caroline Okolo, director of operations, unveiled their plan of action to JUSTIN AKPOVI-ESADE and CLETUS NWACHUKWU. Excerpts.
"WELL the idea came in order for us to move the Nigerian movie industry forward and contribute our own quota towards the development of the Nigerian film industry. Some of us who are involved happen to be filmmakers and we felt that by critical view we could, by extension revamp the film industry. For that reason, we felt that we have to work towards one direction. We, the founders of FAN, Mr. Rabiu Mohammed Ms. Okolo and myself, we felt we came from a strong background, to be able to put together an organisation that will help the Nigerian film industry regain revenue for their films that are being sold in the US and that is how we came about FAN," Abulu said as an opening shot in the long interview.
The Filmmakers Association of Nigeria in the U.S. are quite aware of the difficulty in distributing films in the country, but are ready to tackle the problem headlong. "It is very difficult to distribute films here in Nigeria, Mr. Tunde Alabi (Nigerian representative of FAN) was our producer here, when we made Back To Africa. He told us how difficult it was to distribute Back To Africa.
"But some of the things that we are seeing when I say we, I mean FAN members, what we have seen that have encouraged us, is that guilds have been formed. The formation of the guilds that are in Nigeria today shows that the industry, and the people in the industry are very serious about the futuristic quality of Nigerian film. We felt that since we have seen that improvement, we know that eventually from the way we have seen the guide being formed, the recent interest the Nigeria government has shown in the industry, we feel that Nigerians themselves have what it takes to solve that problem. We don't live here and it will be so hard for us to say that we can come into Nigeria and solve that problem. But we have been living in America for over 10 years so we know American terrain. We know the system. Where we think we can contribute our own quota is in America and that is why the organisation is called Filmmakers Association of Nigeria USA. Inc. It is the U.S element. And we are looking at the distribution. We are thinking about, maybe, some time in future we can come here and render help in that regard (distribution). But we are not going to claim that we can do that.
"The common problem all over the world in marketing and distributing films is piracy. The only difference in developed world is that strict laws apply to deal with piracy, here in Nigeria there is no standing law."
Tunde Alabi, Nigerian co-ordinator of FAN explains further. "Well, there is a movie industry. There is an evolutionary process going on in the quality of films that are being made, the quality is getting better. The people who are making films are getting organised. They are forming guilds, they are sensitising people, distributors, rental outlets etc. The first level of all these is putting the film in cinemas which unfortunately we don't have here. We are hoping we can go back to the old system where we have cinema houses, where people can go to see these films. Next to cinema, distribution should go through recognised retailers or stores, which is where the problem of piracy comes in. After the producer is satisfied with the marketing then he can go to television distribution. But in between the retailers and television distribution, we have the rental outlets which get hold of these films then duplicate illegally and rent them out, thereby jeopardising the expectation of the producers, in terms of number of films that can be realised as sold copies. This problem has been identified. I know that the Nigerian Copyright Commission (NCC) is doing all it can to ensure that the rights of movie producers are protected as much as possible."
Abulu speaks on the size of the market for Nigerian movies in the U.S. "It will be difficult to give you figures. Let me just give you some points, we have identified about at least 200 African market stores in America. We call them African market stores, they are owned by mostly Africans, where you can get African fabrics and anything about Africa as part of what they sell. Now, these stores have become a place where people go to buy these films. Now on a careful scrutiny, you will find out, that most of these stores, do not have copyrights to these films. Yet many of them have over 200 to 500 titles and many have claimed to have sold 10,000 tapes in a year.
"And what we have been trying to do in this regard is to try and convince people pirating Nigerian films to stop and legitimise their business by getting copyright of these works. And that was why we decided that if anybody is going to help the Nigerian film industry in America, it has to be group of people who are dedicated and committed to spending their own money. By our estimation, its going to cost five hundred thousands dollars ($500, 000.00) to run that industry like a small company, a year. We have decided as founders of FAN to do just that."
And where is the money coming from?
"None of us have that kind of money, but what we are going to do through FAN U.S. Inc, is to attract investors. And we have been able to attract investors who told us they are ready to take the risk to invest in this type of project."
Ms Caroline Okolo, director of operations explains the mode of operation that will guarantee that investors get back their money. "It is huge market, as Tony have said earlier on. We have identified 250 spots, but we have to expand it and we are sending out packages that will make it easier for them (dealers in Nigerian home video) to register with us and what we would do is to provide them with the catalogue of list of movies each month, where they could go ahead and purchase these movies." Abulu cuts in. "Please let me add to that, the critical element of distribution is the fact that you have to be able to convince the people who are selling these films, it is not only Nigerian films that they are selling, that they should not patronise those who pirate our movies. For instance, if some buy a copy of a Nigerian film for $5 and the person has a dubbing machine at home where he mass- produce the film and by the time the fellow makes and sell five thousand copies, he must have made about $25,000.00 without any harassment.
"How do you stop such persons from making that kind of money? And this is where we come in. We have been able to appeal to their good sense as African people and at the same time have our power of Attorney in America as long as you show that you have the copyright of any works. To prosecute an individual might cost about $25,000.00 and it takes a long time. The attorney must be an American, a Nigerian attorney cannot go there to prosecute anyone in the U.S. As a matter of fact, we have said we do not want to prosecute like a state in our brochure published in some Nigerian newspapers and some magazines in the U.S. And people have been calling us that they want to be part of FAN and that they want to distribute Nigerian films too, people want to support the Nigerian film industry. And what we want to make the Nigerian filmmakers to understand is that we can't distribute any film in the US, if we do not have the power of attorney... because we would not have the power to prosecute anybody who we may find pirating works."
What is the arrangement between FAN and Nigerian producers?
"We are here to meet and unite with the recognised Nigerian guilds and we are not going to meet anybody or group that is not approved by the law of the land. We are going to work with the guilds, particularly, film producers' guild and we are going to say to them that we are going to represent you over there.
"What we need from you is the power of attorney to represent you." And we would assure them that we are going to pay them royalty on every single copy sold. It is going to be perfectly monitored. There is a website where people can actually log on to, to know how many of his copies were sold and other facts they need to know. We are going to open an account with United Bank of Africa, UBA where the producer can get the money (royalty) from. But before we accept any film, the music used in the film must be music you have received rights to put into that film, be it American music or otherwise. Of course, we can help them to get rights for American music. America is not like Nigeria where you use people's songs without permission. Our people should also be using Nigerian songs for their films," Abulu submitted rather excitedly even as he revealed the strength of FAN.
The wholesalers, the retailers, the video rental stores, the media, educational institutions and the filmmakers' forum. We have people who are professionals in their own making. A lot of people do not want to watch Nigerian films. They say the story lines are too elementary, and people have asked us how we could make the Nigerian film industry better. And we can do that only by bringing in international filmmakers of repute, people who have been in the industry for years. We bring them in, begin to work with Nigerian filmmakers, talking about script writing, camera handling. Mr. Ferman Lee was the director of technical for FESTAC '77, he was flown in by the Nigerian government, he was the one director of photography for my film, (Back To Africa.
"I have to fly him in from the U.S. The film was shot by Nigerians and produced by a Nigerian. In terms of membership, what we have now is that we are getting members from the arts sector of the industry but we have not signed anybody on."
Government support for the industry.
"Somebody have to lobby on your behalf. At FESPACO, (film festival in Burkina Faso) I know people were not going to watch Tunde Kelani's film. I know people were not going to see (Mofe) Damijo's film in the U.S., not because these films were bad but because people don't know them. It is one thing for you to be known in Nigeria and also be known in the States. Any Nigerian filmmaker who believes that he can walk into U.S. to distribute his film is a joker. We have to face so many challenges.
"No American is going to watch a Nigerian film. You know why? Because they don't know you. If you call the centre for diseases control and say you want to travel to Nigeria, the first statement they would say is don't go, it is disease-infested, tell me who is going to watch your film. But the luck we have is that the immigrant population, the Senegalese, Zambians due to their works that are being distributed in West Africa, the African in diaspora would now want to see Nigerian films. Most African-Americans know they are from Africa, but they don't know what Africa looks like. Some of them saw my film and they liked it. My film sold for $120 per tape, the average Nigerian film sells for $5.00. If you are coming to America for your film to be distributed, the film distributors' guild will have to have 50 per cent."
"As the distributor guild we collect 50 per cent of the film and if you go back to them, they would tell you we have not made money from your film.
In fact, we are doing the industry a major good. Sola Osofisan who is a top guy on the Internet talks about Nigerian films, he has a website, it's a spectacular one. It is the best a Nigerian would ever have, it interviews them, talks about their works. Cash Nwabueze, somebody who have lived in the US, they are thanking God, that FAN is alive and they are asking us, to please continue."
The association also planned to enlighten local filmmakers. "Yes, we are going to bring into Nigeria people who have experience that can be of great benefit to Nigerian filmmakers. They will teach them script writing. I could remember some time ago two Nigerian films were exhibited at the National Theatre, Lagos, people were jumping over one another to see the film, but unfortunately when that same film was put on at a film festival in the U.S., in at about five minutes into the film some Ameircan just stood up and walked away. wouldn't mention the name of the film. Why? This is because our story line are so elementary, some of them are disgraceful, there is a new film called Osuofia in London, people were crying and asking why are you disgracing your country when you have already been disgraced. The guy asked for the toilet (in the film) and he was shown the toilet but rather than make use of the sink, he was asking for a hole (pity toilet) and he said "I saw a bush (which was the garden) when I was coming in I would go and use the bush," he walked out! A lot of filmmakers are Igbos, they do not realise what they are doing to their own culture. That is why the President said please make films that will edify your people and the country. And FAN will be there to help to monitor and guide. Even some of our titles are ridiculous, Sharon Stone In Abuja, Monica Lewinsky... is Sharon Stone or Monica a Nigerian, we have to do away with rubbish and begin to do films that tell story about our personalities. I mean contemporary stories. That is where we come in, we have been in the industry for 20 years. There is this movie called Shancofa, I want Nigerian movie makers to see that film. It is the biggest African film ever. When they see it, they would realise that they still have a long way to go," Abulu submitted.
There is a problem of trust in the industry right, how would FAN tackle it against the backdrop of stories of people coming here, taking their masters tape away and never returning it?
"Our reputation is solid. Though we are not going to base on that alone, the way we are going to do the whole thing is so transparent with UBA as link, the minute your film is submitted, UBA Nigeria and UBA New York will be notified. That will be a link point where money for royalty will be received. A lot of the filmmakers have been begging us to start for years, that we should do it. Just imagine yourself to be a filmmaker, the day you release your film here in Nigeria, they are selling it in London, how are you going to compete with the Senegalese who reproduce ten thousands of your film and sell it for $2.00?
"What is the name of this actor who produced Take Me To Maama. He came to New York and he wanted to sell the rights for $10,000. The first store he entered, guess what he saw, Take Me To Maama, that is a film he has just released, the woman, owner of the store, an Igbo now said "Igbo would arrest Igbo?"
The filmmaker chided government for what he described as gross negligence of the sector. "This job that FAN is doing is what the federal government should be doing. It is not an individual that is supposed to go and look for $500,000 a year do to what the government is supposed to be doing. The government expect magic to be getting foreign returns, why don't they do that with oil, did the government not invest in oil?
"Do you know how hard it is to get money over there? Most Nigerians are doing security jobs where you can die, working with guns and dogs. The government expect the filmmakers to make film that will edify the country. But the question I asked is where is the funding, how many banks are ready to give filmmakers money to make a film, I am going to take it up with government. We have ministry of information and they have not done anything. Here comes a group of Nigerians who are going to beg and look for half a million dollar to help the Nigerian filmmakers to sell their films abroad, see what I mean? My wife has not been here before so are my kids, they ask me if we actually use the bush for toilet, as they see in the movie mentioned earlier, I told them when they get here, they will discover if that is true or not. Some people say the movie is funny, but people are laughing at us. First of all no American believe any African is any thing. We ought to understand that. I have to sit them down and let them understand it that no American believe that any Nigerian is anybody, they believe that we smell and that is one person you want to come and watch your movie for how much? The average Nigerian film when it comes to festival halls, you have 10 people, 20 people watching the film in hall for 400 people and the 20 related to Nigerians. So we have to move forward, I will tell the government they have to come out with the endowment fund they are dodging.
How soon are we expecting FAN to start?
"FAN has started, we only have two weeks to spend in the country, one has gone already. We are going to see the filmmakers and the producers this weekend (last week Saturday) and get things done. We get them register through UBA, there is a fee for them to pay and join. It is $250 00, but we waved the fee because they would say they don't' have money. But every international black filmmaker in FAN is paying that $250 00, they are going to pay, otherwise where are we going to get $500,000? What FAN is doing is to encourage local producers to come together to make good films, international standard films." The entire programme/package include: "Training, funding suourcing, the ability to be able to work with international filmmakers, time, ability to get their films into festivals, the Nigerians filmmakers will jump at the offer because it will open doors of opportunity for them, and when the banks discover your film is internationally accepted and is selling, they would definitely loan you money to make more films. We would try to penetrate into the market through our website and every other means of communication to the Americans, and even the white population to get interested in our films."
Abulu and his group have a bias for some kind of films. "These are the criteria, good storyline, quality production, and so on. Where you are supposed to do close shot, you do long shot, its unprofessional, packaging; Nigerian films can make you cry. The Americans believe the black man is not intelligent, this is what they depicted in some television programme for years and it will take a Nigerian film to stop that mentality, we must impact professional acting skill because American actors go to acting schools before perfecting in their acting skill. In fact, the Actors Guild of America has s strict discipline such that you have to be a professional before you can get in.
"I know it is a gradual process. Things will get better with time. Film is not a small thing. You have to make it look real that is why it cost about $100 million to do a movie in America. Our stories are so elementary because we keep telling stories without doing researches. Let our stories have depth and meaning."