AN OPEN LETTER TO MOVIE MAKERS IN NIGERIA

I have had to bare my mind on the quality of films made in this country owing to our latest nomenclature: shithole.

Every sector of this country has its role to play in qualifying us for such vivid dehumanizing description, the movie industry otherwise called Nollywood inclusive.

I may not be a film maker per say, but I have contributed to the overwhelming poor quality of Nigerian films because of my silence all these years. As a Nigerian who watches home videos from time to time, I have a right to call to order those sabotaging the movie industry from within.

From my perspective, our movies have been shortchanging us because of the quality of stories we tell. Nollywood is replete with talented actors, creative directors, astute producers, enterprising cinematographers, fantastic editors, and of course, brilliant script writers. But the problem seems to be the quality of stories which they all have to work on and convert to films.

To me, the story is the foundation. If the story is faulty, then no matter the expertise of the screen writer, director and editor, the movie will come out awash with inconsistencies, another Nigerian movie with little or no substance.

The issues with our stories are:

1. Our stories have amazing beginnings but horrible endings. A typical Nigerian movie will thrill you from the beginning till some point where you start to wonder what's going on.

Suddenly, new characters are introduced and new and unrelated dimensions are added to the plot and you begin to lose sense of the entire setting because a movie which started in the city is now set in a village with no warning transition what so ever.

One of the qualities of a good story is that it must have a beginning, a middle, and an end. Any story without an end will end up totally convoluted and messed up. This is the case with many Nigerian films.

2. Our stories are not original to us. We tell stories that are both false and inconceivable within our spiritual, cultural and economic possibilities.

When we continue to tell stories about princes and princesses, members of royalty, whom we hardly see, we end up lying to ourselves, not our diaspora brethren who are patronizing us for what they perceive is true about the intricacies of kingship.

We continue recycling worn out themes just because people seem to be patronizing them. Why wait till the patronage seizes before we generate new and original themes?

We watch Game of Thrones and decide to do a flick about rural lords fighting over trivialities, something very laughable and unfortunate. Can't we fall back to our roots and exhume ancient stories with war-like potential that will present us as genuine?

Methinks we can do better than being unnecessary and unintelligent copy cats.

3. Our stories are told by people who have no business telling stories. It's the perennial problem of square pegs in round holes.

What business does a marketer have telling a story? Are you an artist or a business man? Story telling is an art. It's not an all-comers affair.

The fact that you're sponsoring the production doesn't entitle you to force your story on the viewing public. Spot a good story and sponsor; don't insist it must be your lame recycled story or you won't bring out your money. You're killing the industry.

Every time you use your influence as director, producer or executive producer to force a bad story on the market, understand that you're a big part of the problem of the industry.

If you think you have a great story, call a meeting of other players and sell it to them to see if it has merit. And be objective. I'm sure if it has potential, it can be converted into an award winning flick. If it doesn't, at least you tried.

4. Many stories we feature in films are not adequately researched.

If you must tell the story of how a king changes into a crocodile at night, first research to know which Nigerian village or state can authenticate such a setting.

But most importantly, research the history of the people to find out what particular animals make up their fauna. Certain animals don't just belong to certain climes, no matter how fictional we want to base it.

Now, what's the way out?

While we work to ensure an all round improvement in the industry, I propose that film makers explore the following avenues to get groundbreaking stories:

1. Read Nigerian novels. Many literary pieces are great movies told in narrative form.

Many Hollywood hits including Game of Thrones are adapted from novels. What stops us from following suit?

Such stories will have beginnings and ends, will be believable, and will be original to our cultural nuances.

2. Solicit stories from other people from time to time. Swallow your pride and actually contact script writers for scripts (or script synopsis if you can't find time to read full scripts).

Stop relying on one or two story sources. Spread your tentacles. Your next big hit could come from someone you least expected.

There are more story tellers around you than you can imagine. Many people in the industry are actually phenomenal story tellers patiently waiting their turn to become producers. If you get their scripts and check it out, you may be amazed at the quality of their minds.

And there are many story tellers outside the industry. Some are teachers like me, some are bankers, and some are chefs. Many are in the university while many are still in secondary school.

The other day I was reading a friend's post on facebook and I realized she was telling stories that would make great flicks. The unfortunate thing for most of us is that good things are still hidden from us when put in writing.

Stories are everywhere. All you have to do is look. You'll get them in tons.

3. Tell stories that are achievable. When you tell a story of a billionaire who drives only one car, then you're biting more than you can chew. Why not reduce him to a millionaire so at least we can understand why he has one car?

Watching Empire, you see that everything fits the Luscious' - their costumes, props, their attitudes etc.

Watching a few home videos like Wedding Party, 50, 30 Days in Atlanta, you applaud the makers because of their efforts to achieve everything in the script.

So why tell stories that are obviously beyond your budget? It will very likely end up a flop.

I wish to say much more but I think I've said enough.

Permit me now to volunteer three of my stories for free to any movie maker who so wishes. All I want in return is the credit. I believe this to be my contribution to the menace facing the industry.

The stories are:

1. Mementos

2. Red handed

3. Isong Ifono

These are working titles and they are all achievable, original, suspense oriented and economical. Inbox me if you're interested.
Thanks for reading this to the end. I hope it helped.
credit: Michael Bassey