[b]"This is something that comes up in conversations I have from time to time - whether casual conversations, or formal panel discussions on "the state of black cinema" in these United States, broadly speaking.

I was reminded of it earlier today, while having an online exchange with a filmmaker friend, and thought it was about time I said a few words on the subject.

What can black filmmakers in the USA learn from Nollywood, is a question I'm asked from occasionally. Or why can't black filmmakers in America adopt the Nollywood-style of film production - cheap, fast, films shot primarily on video, bypassing theaters and released directly to home video formats like DVD.

Whenever I'm asked that question, my response is often, well, black filmmakers in America HAVE indeed embraced that model of film production. Just take a stroll down dvd rental/sale aisles at your local movie rental store, whether brick & mortar or virtual, and you'll find your answer there.

On a weekly basis, there are over 100 new films released on DVD; the vast majority never receive theatrical releases - about 90% of them, if not more. And a percentage of those are films by black filmmakers, with all-black (or primarily black) casts. I don't have exact figures on what that percentage is, but there are enough of them, given the email press releases I get on a daily basis, alerting me to upcoming straight-to-video releases that I should be aware of, and that the senders believe would be appreciated by readers of this site.

These are films that, like Nollywood movies, are made relatively cheaply (certainly not Hollywood-size budgets, but I'd say range in costs from a few thousand to a few hundred thousand dollars; occasionally, there might be one or two with budgets of over $1 million, but those are very rare, especially where black cinema is concerned. Those tend to have *names* in them that can help justify those 7-figure budgets, and recoup costs).

They are also made quickly (it makes sense, when you're working with a low budget - you can't stretch filming over several weeks or months, like a Hollywood studio would).

And also, like Nollywood, these films are most often shot in some digital format. Not celluloid.

And lastly, as is the case in Nollywood, these films tend to bypass pricey theatrical releases, and head straight to DVD (VOD, digital download, etc).

There are far more of these black cinema titles released every week than there are black films opening in theaters on a weekly basis, and so you might consider digging through them for any potential gems, since, as is also Nollywood's *problem*, the films often aren't all that great, unfortunately; to me anyway (others will feel differently).

Also like Nollywood, there's clearly an audience for them. Someone is making money from all these films, otherwise there wouldn't be quite the volume that we've seen, and continue to see produced and released weekly.

One key difference between making films here in the USA versus Nigeria is that, here in the USA there's that dream factory known as Hollywood, where there seems to be an almost bottomless well of financing available, with production budgets soaring into the hundreds of millions of dollars on the high end. There's no such thing in Nigeria currently, although we're seeing more and more Nigerian filmmakers separate themselves from the internationally-known, and even mocked Nollywood brand.

We've covered a number of those filmmakers here in the past, and continue to do so.

And also, in an effort to improve the quality of cinema from Nigeria, in part so that it can compete in the international marketplace, the country’s president, Goodluck Jonathan, pledged, in 2010, to create a $200 million loan fund to help finance film projects. Tony Abulu's cross-continental drama Doctor Bello, was chosen to receive the fund’s first loan - $250,000.

So for black filmmakers (outside of Hollywood) in the USA, there's something *higher* to aim for - Hollywood. Some opt to go the cheap, fast, straight-to-dvd route; others choose to take the longer road, which often means years and lots of money spent trying to get one project made, usually with working within the Hollywood studio system being the end goal.

This week in the USA, as an example, while there'll only be 1 studio film with a black starring cast (and a story centered primarily around a black character) released in theaters across the country, there are several new black films that are being released straight to DVD this week, including 2 that are directed by Cora Anne (I'm not familiar) and executive produced by David Kane Garcia (not familiar with him either): Do You Know Where Your Man Is and Love & Foootball.

Heard of either of them? For most of you, the answer will probably be a "no."

But just take a look at Garcia's IMDB page, and you'll find that he has backed 11 films in the last 2 years alone - none of them released in theaters that I can immediately identify. And looking at the casts for some of them, you'll find names you'd recognize like Glenn Plummer, Robin Givens, Jackée Harry, Bobby V and many others. Not what we'd call, in industry parlance, A-listers, but, again, these are names that many of you would know, and for some, would be enough to encourage them to rent or buy these films, if only out of curiosity.

In a way, you could even call Tyler Perry a glorified Nollywood filmmaker, given that his films are relatively cheap (by Hollywood standards), and are often simplistic and message-driven (delivered heavy-handedly), with religion and morality driving the narratives - common themes in Nollywood cinema.

But I'd be remiss if I didn't say that Nollywood cinema isn't the grand total of Nigerian filmmaking. For example, filmmakers in northern Nigeria have really never claimed allegiance to Nollywood, which is in part why Kannywood exists. Also, you have prominent Yoruba filmmakers like Tunde Kelani, setting themselves and their works as being separate from Nollywood.

And, as I noted earlier, there is a growing number of Nigerian filmmakers who are making a concerted effort to change the face of Nigerian cinema on the international stage.

So the point is, Nollywood does not translate to the totality of filmmaking in Nigeria, even though Nollywood has come to represent Nigerian cinema on the global stage, just as Hollywood has come to represent American cinema all over the world, even though there are far more films being produced and released outside of Hollywood on any given week, than within the studio system. The problem is those films simply don't have the marketing budgets and market dominance to compete, and so many of you will likely never hear of, nor see these non-Hollywood films.

The overall point here is that, again, look to the home video market here in the USA for a deeper well of black films. You might find whatever you consider a *gem* in the deluge. For example, in addition to the two titles I mentioned above, also released on DVD this week is a documentary on African American jazz pianist Erroll Garner, best-known for his composition of the ballad Misty, which has become a jazz standard.

Directed by Atticus Brady, the new film uses archival materials interwoven with interviews with friends, family, and fellow musicians, and features commentary from Woody Allen; Ahmad Jamal; Tonight Show host Steve Allen; Erroll's sister, Ruth Garner Moore; pianist and arranger Dick Hyman; Columbia Records executive George Avakian; and others.

The film documents Erroll, from childhood to meteoric rise in popularity. He died in 1977 at 53.

Titled Erroll Garner: No One Can Hear You Read, it played several film festivals, and is now hitting the home video market, bypassing a theatrical release completely.

I ended up writing more than I initially planned to, but consider this the start of a much longer conversation to be had. So feel free to add to what I've written here if you'd like."[/b]
http://blogs.indiewire.com/shadowandact/the-why-cant-black-filmmakers-in-the-usa-adopt-the-nollywood-model-quesion

Did you honestly expect someone to read through all that Crap?

I did.

Dan_de_Numeruno: Did you honestly expect someone to read through all that Crap?

I did, maybe it is just you

ha ha ha ha ............... Actresses sleeping with producers and directors for roles "Bravo"!!!

baby-boy:
ha ha ha ha ............... Actresses sleeping with producers and directors for roles "Bravo"!!!

off topic, and that has happened in Bollywood and the early days of hollywood and still happening to a extent so whats your point HAHAHA

Just because we Nigerian accept rubbish, doesnt mean the rest of the world should do it....

CRASH B@NG WALLOP and the movie is on the VCD/DVD.... oh please!!! No imagination, invetion, creativity, research etc into a movie.... just shoot without editing straight unto disc?


I echo Baby-boy when he said BRAVO!!!

What next the rulers of western world should adopt the way our politician behave

omar22: Just because we Nigerian accept rubbish, doesnt mean the rest of the world should do it....

CRASH B@NG WALLOP and the movie is on the VCD/DVD.... oh please!!! No imagination, invetion, creativity, research etc into a movie.... just shoot without editing straight unto disc?


I echo Baby-boy when he said BRAVO!!!

What next the rulers of western world should adopt the way our politician behave

everybody is entitled to their opinion, the article says otherwise from what you are saying, nobody here said Nollywood is perfect but some blacks in America are looking towards Nollywood way.

and for a article to bring up this topic that means many other people are feeling that to.

omar22: Just because we Nigerian accept rubbish, doesnt mean the rest of the world should do it....

CRASH B@NG WALLOP and the movie is on the VCD/DVD.... oh please!!! No imagination, invetion, creativity, research etc into a movie.... just shoot without editing straight unto disc?


I echo Baby-boy when he said BRAVO!!!

What next the rulers of western world should adopt the way our politician behave

Its worrying a fact when the Black American movie industry would stoop so low and dable over the idea of copying a car-crash industry called Nollywood

When you look at when Black movies are at its lowest ebb this was during the late 80's early 90s, when they were cheap to make, directors like Spike Lee, John Singleton were directing movies like

She's Gotta Have It
School Daze
Do the Right Thing
Mo' Better Blues
Jungle Fever
Malcolm X
Boyz in the Hood
Poetic Justice

These are classic movies which took alot of thinking, creativity and innovation but cheap to make, movies like Juice, Jason Lyrics, Sugar Hill, New Jack City, Malcom X (Oscar nominee) are also great movies produced almost 20 years ago, which are still far better than what Nollywood has been churning out 20 years later.... Now the idea that they would adopt a fire service approach in making movies sounds laughable... Why would someone like Tyler Perry who is now worth over $200m, who is a movie or 2 away from releasing a blockbuster would stoop so low when he has the opportunity to rub shoulders with the big boys like Martin Scorsese, Spielberg, Eastwood, John Woo or Spelling.... John Singleton another one who directed one of the Fast and Furious series..........

Why Nigeria's film industry can't yet square up to Hollywood
Nollywood is in a transitional phase, but its still has some way to go to be truly mainstream

A bright-green kit car marked "51 Nigeria" stands under grey skies, yards from where the traffic endlessly groans out of the Blackwall tunnel. Young black scenesters, wearing smart-casual, pose in front of it, then mill over to the red carpet in front of the Greenwich Odeon, where VoxAfrica, "the first bilingual, pan-African channel", is working the interview lineup. Tall women in traditional dress loll on benches nearby. This is the premiere of Tango with Me, the fourth Nollywood film to get a mainstream release in the UK. PR rep Moses is getting antsy; he gets the cinema to make an announcement that the screening will be starting soon. No one pays any attention. Tonight, we're on African time, not Greenwich mean time.

Nollywood, Nigeria's film industry, is straining to up its game. Tango with Me – a melodrama about the aftermath of a wedding-night rape – is the latest to reach beyond VHS and DVD-led distribution, opting for the kind of overseas theatrical release needed to help legitimise Nigerian cinema and maybe even bring in non-African audiences. The budget is high by African standards (80-100m naira – about £326,000); the film stars industry queens Genevieve Nnaji and Joke Silva as well as rising newcomer Joseph Benjamin; it has, in the eyes of director Mahmood Ali-Balogun , "the right production values" – the most salient problem for Nollywood, which likes to build them cheap and quick.

Everyone is buzzing, especially DJ Abass, "entertainment consultant" for African events in London and compere for the screening: "If you enjoy this movie, and you don't tell anyone, then I won't tell you what will happen to you. Just check your email inbox in a month's time."

I'm not sure what I'm risking by sharing this, but I kind of enjoyed Tango with Me. I admired its forthrightness about rape in Nigeria – apparently discussing it openly is still a problem – but cinematically it still felt rudimentary: too many static camera setups, lots of long, on-the-nose dialogue scenes. Maybe I'm too used to western dramatic practices, with their emphasis on subtext and tension. One thing I really enjoyed, though, was watching it with a guffawing, interjecting, gesticulating African audience. Each time Benjamin's character, Uzo, impotent with the almond-eyed Nnaji, plays away from home, some wag shouts, "Oh, Jos-eph!" in mock indignation.

At the Q&A session afterwards, there's much pontification on whether Tango with Me is the leap into the mainstream that Nollywood has been waiting for. Everyone seems to agree the industry is in a transitional phase: "The Nollywood of yesterday is different to the Nollywood of today, and it will be different to the Nollywood of tomorrow," as a producer in the audience puts it. There's certainly plenty of other evidence to suggest that it is moving on to a more established, professional footing: more film-makers shooting on film, not video; an increasing degree of international crossovers, like Jeta Amata's Hollywood star-laden Niger-delta thriller Black November, Holly-Nolly co-production Doctor Bello, and the forthcoming Nigerian-UK adaptation of Chimamanda Ngozi Adichie's novel Half of a Yellow Sun; the slick looking streaming-video library iROKOtv – supported by US money – giving ready access to Nollywood's bottomless bargain-bin of titles.

At what point does a film industry become truly mainstream? If Tango with Me is the litmus test, I'd say Nollywood isn't there yet, aesthetically at least. It's not fully exploiting the virtues of the medium yet. The declarative dialogue, some of the riper acting from the bit-parters – they feel as though they're hand-me-downs from older art forms, like oral storytelling, that Nollywood has budded out of. Sometimes, I think you can still glean that kind of folk heritage in some 1940s and 50s Hollywood films, like when comedies occasionally forgot the ruthless plot focus of commercial cinema, and let their characters revert back to gratuitous knockabout japes that feel as though they belong on the stage. That slackened, carefree vibe certainly still appears in many Bollywood films, which are on a technically higher plane than current Nollywood.

Those are the values of the commercial global mainstream, though. By another reckoning, Nollywood is already mainstream: the dominant industry of sub-Saharan Africa by virtue of pricing (dirt-cheap) and distribution (any means necessary, including piracy) arrangements in tune with Africa, where Hollywood has little or no official presence. And with the hardwood moral messages and Christian values propagated by many Nigerian films, they have a consolidated sense of their audience's identity – the very meaning of mainstream. Tango with Me is no exception, and at the Q&A, someone eagerly inquires what kind of Christian director Ali-Balogun happens to be. "Born again," he says, proudly.

But there's more than one mainstream in the world, and his eye is on the overlaps between them. "What we are going through, Hollywood went through and Bollywood went through," is how he explains the process. Nollywood, if Ali-Balogun is correct, is about to born again, too.

• Tango with Me is out on Friday. Next week's After Hollywood will focus on Dan Mintz, gatekeeper to the Chinese film industry for Hollywood. Meanwhile, what global box-office stories would you like to see covered in the column? Let us know in the comments below.

baby-boy:
Why Nigeria's film industry can't yet square up to Hollywood
Nollywood is in a transitional phase, but its still has some way to go to be truly mainstream

A bright-green kit car marked "51 Nigeria" stands under grey skies, yards from where the traffic endlessly groans out of the Blackwall tunnel. Young black scenesters, wearing smart-casual, pose in front of it, then mill over to the red carpet in front of the Greenwich Odeon, where VoxAfrica, "the first bilingual, pan-African channel", is working the interview lineup. Tall women in traditional dress loll on benches nearby. This is the premiere of Tango with Me, the fourth Nollywood film to get a mainstream release in the UK. PR rep Moses is getting antsy; he gets the cinema to make an announcement that the screening will be starting soon. No one pays any attention. Tonight, we're on African time, not Greenwich mean time.

Nollywood, Nigeria's film industry, is straining to up its game. Tango with Me – a melodrama about the aftermath of a wedding-night rape – is the latest to reach beyond VHS and DVD-led distribution, opting for the kind of overseas theatrical release needed to help legitimise Nigerian cinema and maybe even bring in non-African audiences. The budget is high by African standards (80-100m naira – about £326,000); the film stars industry queens Genevieve Nnaji and Joke Silva as well as rising newcomer Joseph Benjamin; it has, in the eyes of director Mahmood Ali-Balogun , "the right production values" – the most salient problem for Nollywood, which likes to build them cheap and quick.

Everyone is buzzing, especially DJ Abass, "entertainment consultant" for African events in London and compere for the screening: "If you enjoy this movie, and you don't tell anyone, then I won't tell you what will happen to you. Just check your email inbox in a month's time."

I'm not sure what I'm risking by sharing this, but I kind of enjoyed Tango with Me. I admired its forthrightness about rape in Nigeria – apparently discussing it openly is still a problem – but cinematically it still felt rudimentary: too many static camera setups, lots of long, on-the-nose dialogue scenes. Maybe I'm too used to western dramatic practices, with their emphasis on subtext and tension. One thing I really enjoyed, though, was watching it with a guffawing, interjecting, gesticulating African audience. Each time Benjamin's character, Uzo, impotent with the almond-eyed Nnaji, plays away from home, some wag shouts, "Oh, Jos-eph!" in mock indignation.

At the Q&A session afterwards, there's much pontification on whether Tango with Me is the leap into the mainstream that Nollywood has been waiting for. Everyone seems to agree the industry is in a transitional phase: "The Nollywood of yesterday is different to the Nollywood of today, and it will be different to the Nollywood of tomorrow," as a producer in the audience puts it. There's certainly plenty of other evidence to suggest that it is moving on to a more established, professional footing: more film-makers shooting on film, not video; an increasing degree of international crossovers, like Jeta Amata's Hollywood star-laden Niger-delta thriller Black November, Holly-Nolly co-production Doctor Bello, and the forthcoming Nigerian-UK adaptation of Chimamanda Ngozi Adichie's novel Half of a Yellow Sun; the slick looking streaming-video library iROKOtv – supported by US money – giving ready access to Nollywood's bottomless bargain-bin of titles.

At what point does a film industry become truly mainstream? If Tango with Me is the litmus test, I'd say Nollywood isn't there yet, aesthetically at least. It's not fully exploiting the virtues of the medium yet. The declarative dialogue, some of the riper acting from the bit-parters – they feel as though they're hand-me-downs from older art forms, like oral storytelling, that Nollywood has budded out of. Sometimes, I think you can still glean that kind of folk heritage in some 1940s and 50s Hollywood films, like when comedies occasionally forgot the ruthless plot focus of commercial cinema, and let their characters revert back to gratuitous knockabout japes that feel as though they belong on the stage. That slackened, carefree vibe certainly still appears in many Bollywood films, which are on a technically higher plane than current Nollywood.

Those are the values of the commercial global mainstream, though. By another reckoning, Nollywood is already mainstream: the dominant industry of sub-Saharan Africa by virtue of pricing (dirt-cheap) and distribution (any means necessary, including piracy) arrangements in tune with Africa, where Hollywood has little or no official presence. And with the hardwood moral messages and Christian values propagated by many Nigerian films, they have a consolidated sense of their audience's identity – the very meaning of mainstream. Tango with Me is no exception, and at the Q&A, someone eagerly inquires what kind of Christian director Ali-Balogun happens to be. "Born again," he says, proudly.

But there's more than one mainstream in the world, and his eye is on the overlaps between them. "What we are going through, Hollywood went through and Bollywood went through," is how he explains the process. Nollywood, if Ali-Balogun is correct, is about to born again, too.

• Tango with Me is out on Friday. Next week's After Hollywood will focus on Dan Mintz, gatekeeper to the Chinese film industry for Hollywood. Meanwhile, what global box-office stories would you like to see covered in the column? Let us know in the comments below.

Nigeria's Nollywood eclipsing Hollywood in Africa
[b]"It's a paradox. As cinemas close across Africa, homegrown blockbusters are actually eclipsing Hollywood on the African market as for the first time in 13 years an African feature competes for the top award at Cannes.

This weekend, "A Screaming Man" by Chad director Mahamat-Saleh Haroun joins 18 other movies selected to contend for the prestigious Palme d'Or, awarded May 23 at the close of the 12-day film festival.

Yet cinemas across the continent are pulling down screens, converted to pentecostal churches, night clubs or warehouses.

The average rate of closure is estimated at one a month - an endemic trend blamed on ticket prices too high for the average African as well as on the proliferation of cheap pirated DVDs at any street corner.

Around 50 cinemas remain in business - most in South Africa and Kenya with a few in Nigeria - thanks to mushrooming city shopping malls.

In Ivory Coast, west Africa's cultural crossroads, "cinema is dying, if it is not dead already", said award-winning producer Roger Gnoan M'Bala.

In Senegal, home to some of the continent's most renowned early filmmakers such as the late Ousmane Sembene, cinemas have all but shut down. "Senegal is one big black screen," said local weekly La Gazette.

A vestige of film resistance in West Africa is the Oscars' equivalent, FESPACO, Africa's biggest film festival held every two years in Burkina Faso.

But Africa's most populous country Nigeria 18 years ago burst into production with affordable movies now shot with digital cameras that shun the more expensive classical 35mm format.

Known as Nollywood, the Nigerian movie industry has in recent years galloped ahead of Hollywood to be ranked second in the world in production terms after India's Bollywood.

A UNESCO study last year placed Nollywood second to Bollywood in terms of the numbers of films produced, with Hollywood trailing in third position. In 2006 for example, Nigeria churned out 872 productions against 485 in the United States.

Film-makers say the digital camera has helped boost African film production, with Nigerians releasing what some dub "microwave" movies that can be ready in under a month.

Nollywood "has taken over completely" from Hollywood, said Nigeria's film producer and director Teco Benson, saying it is the latest "superpower" in the movie industry.

"It's Africa's new rebranding tool".

The good news is that African film-lovers go for Nollywood.

"Africans watch more Nollywood than Hollywood," commented another local director and producer Zeb Ejiro.

Most Nollywood movies depict societal ills - corruption, fraud, drugs and human trafficking, love triangles and witchcraft - and almost all go for happy endings.

One reason for Nollywood's popularity lies with South Africa-based pay television MultiChoice. It has four 24-hour channels dedicated to African content, predominantly Nigeria productions. Two of the channels run movies in two of Nigeria's main languages, Yoruba and Hausa.

But in poor neighbourhoods, shacks with old TV screens placed on dusty alleys or verandas pass for video viewing centres. Bootleg copies sell for a couple of dollars across the continent.

In central Africa, Nollywood movies are the only ones sold by market vendors as "African movies", with the Nigerian productions dubbed into French in such countries as Cameroon and Gabon.

In Kenya, Nigerian films are also a hit - many of them broadcast on terrestrial networks - but face competition from Bollywood due to a historic large Indian population in the eastern African country.

Nollywood films are also immensely popular in Sierra Leone, to the extent of choking the growth of the country's own movie industry, said Thomas Jones, a radio play scriptwriter.

"Nollywood has hampered the growth of the local film market because my contemporaries have just resigned themselves to watching these films from Nigeria," he said.

More affluent South Africa on the other hand has seen a growth in its movie sector since the end of apartheid, and Neill Blomkamp's science fiction "District 9" was this year nominated for an Oscar.

In the Democratic Republic of Congo, Nollywood is "very popular on television" after being dubbed into the local Lingala dialect, according to Petna Ndaliko, a local organiser of the five-year film festival in the eastern town of Goma.

And even in the tiniest of African countries such as Gambia, "Nollywood is ahead of Hollywood", said Nigerian businessman Barnabas Eset, who since 2000 has been renting out both Nollywood and Hollywood movies."[/b]
http://www.independent.co.uk/arts-entertainment/films/nigerias-nollywood-eclipsing-hollywood-in-africa-1974087.html

baby-boy:


Its worrying a fact when the Black American movie industry would stoop so low and dable over the idea of copying a car-crash industry called Nollywood

When you look at when Black movies are at its lowest ebb this was during the late 80's early 90s, when they were cheap to make, directors like Spike Lee, John Singleton were directing movies like

She's Gotta Have It
School Daze
Do the Right Thing
Mo' Better Blues
Jungle Fever
Malcolm X
Boyz in the Hood
Poetic Justice

These are classic movies which took alot of thinking, creativity and innovation but cheap to make, movies like Juice, Jason Lyrics, Sugar Hill, New Jack City, Malcom X (Oscar nominee) are also great movies produced almost 20 years ago, which are still far better than what Nollywood has been churning out 20 years later.... Now the idea that they would adopt a fire service approach in making movies sounds laughable... Why would someone like Tyler Perry who is now worth over $200m, who is a movie or 2 away from releasing a blockbuster would stoop so low when he has the opportunity to rub shoulders with the big boys like Martin Scorsese, Spielberg, Eastwood, John Woo or Spelling.... John Singleton another one who directed one of the Fast and Furious series..........

yup but these movies are black ameircan movies, for americans not Nigerians or africans in general. Different strokes for different folks, Nollywood is still progressing and is better then how it was decades ago. I'd rather watch yoruba movies then boys N the hood.

NOLLYWOOD MOVIES THAT HAVE PROGRESSED:

https://www.youtube.com/watch?v=JBmbd2-7zAI

https://www.youtube.com/watch?v=pKNF_xJfLpE

https://www.youtube.com/watch?v=OC_un9NgnG0

anonymous6:

yup but these movies are black ameircan movies, for americans not Nigerians or africans in general. Different strokes for different folks, Nollywood is still progressing and is better then how it was decades ago. I'd rather watch Yoruba movies then boys N the hood.

Your choice your preference


But you cant compare Boys N the hood that was released in 1991 to Figurine that was release in 2012....... Boyz in the Hood is a way better movie by a very long shot


I watched Figurine last December..... Poor story line, poor acting and asking Ramsey to act the role of a Youth Cop was laughable.....

anonymous6: NOLLYWOOD MOVIES THAT HAVE PROGRESSED:

https://www.youtube.com/watch?v=JBmbd2-7zAI

https://www.youtube.com/watch?v=pKNF_xJfLpE

https://www.youtube.com/watch?v=OC_un9NgnG0

I have lived long enough not to accept mediocre as good enough

baby-boy:



I have lived long enough not to accept mediocre as good enough

I guess what we can agree on is we have different taste and preference's when it comes to Nollywood

baby-boy:



I have lived long enough not to accept mediocre as good enough

WORD!!!!

Dont accept enough as good enough

omar22:

WORD!!!!

Dont accept enough as good enough

Nollywood is still progressing so to judge them as if they are hollywood doesn't make sense

They are starting to do this, HBO and AMC both uncensored cable networks are starting to do orig series from directors. Quentin Tarantino will prob move from movies to 6hr HBO specials instead, or DVD.

Movies released in US are making so much in Asia now that they are already paid off by the time they release it domestic, so there is still big demand for making films instead of straight to DVD or cable.