Nollywood, Nigeria's worth $800 Million while actors and actresses chasing politics money

Hard to believe thou...

;DNice 1 there ;DNice 1 there

After sweeping the awards at the recent AMVCA, Nollywood has shown that truly, na only dem waka come

I'm glad that they are making money but I can't watch these films.

It's not the quality so much as the themes, the religious/superstitious nonsense is annoying and doesn't resonate with me.


P.S.
I can't tolerate Bollywood and most Hollywood movies either.

Another Voodoo analysis

Where is the tax that accrued to Nigeria from the industry?

ok

This francis guys and his biased news,i clicked on the first story and found out that u did not put the story on kunle afolayan success there,u only removed the ibo part to feed ur egotistic self,the second one too,u just removed the ibo part and posted it here..get over urself dude,and stop trying to downplay other tribes great stride in nollywood.oh and this news is old,since 2012

Wulfruna:
That brother up there is Charles Novia, not Kenneth Nnebue.

Bless you...

oneda:
with this half rate movies they're producing?

U avent watched better movies, all u see is drama by local producers, try watch Movies like October 1st,

pekeyim:
Dem don pass India?


Hmmm

i tire oo. We too dey delude ourselves

[img]http://talks9ja..com/2015/03/do-you-know-that-jesus-went-to-hell.html[/img] cool

falconey:
Crap!!!! Dumping millions of nigerians with 40minutes repeated stories with no quality.


Look forward to OCTOBER 1 by kunle afolayan.
Nollywood yoruba rocks!!!.

Bigotry as usual...only in the usual place we know.

good one but if they start to Count the meaningful movies I no sure say we go enter first 10. Nigeria should stop producing crude drama in the name of films and start producing standard movies

but any way it's not easy.. if it was ,Where are the other country...
THUMBS UP NW...






















































































































THANK U

[s]

ChristyG:
This francis guys and his biased news,i clicked on the first story and found out that u did not put the story on kunle afolayan success there,u only removed the ibo part to feed ur egotistic self,the second one too,u just removed the ibo part and posted it here..get over urself dude,and stop trying to downplay other tribes great stride in nollywood.oh and this news is old,since 2012

[/s]

Tribalism will Kill u and ur co-travellers.

A woman for that matter.

U suck

falconey:
Crap!!!! Dumping millions of nigerians with 40minutes repeated stories with no quality.


Look forward to OCTOBER 1 by kunle afolayan.
Nollywood yoruba rocks!!!.

as in,kunle afolayan is d best,i dont care what anybody says.all his movies are way better than those thrashy ones they show on africa magic,from irapada to figurine.and also tunde kelani too

piracy is doing a lot of damage to the industry. They have to find an effective means of making their money before and after it gets to Alaba.
kudos to them

Kunle Afolayan wants to scare you,
he wants to thrill you, he wants to
make you laugh, but most of all, he
would like you to suspend your
disbelief — in his plots, yes, which
tend to be over the top, but also
about what is possible in Africa. He
bristles if you call him an “African
filmmaker” — a phrase redolent of
art-house cinema, which his work
assuredly is not. He wants to make
huge, explosive, American-style
blockbusters, and he wants to make
them where he lives — in Nigeria.
His ambitions may sound
implausible. Nigeria lacks even a
reliable supply of electricity. But it
does contain a chaotic creative
energy that has made it the world’s
most prolific producer of films.
Twenty years after bursting from the
grungy street markets of Lagos, the
$500 million Nigerian movie
business churns out more than a
thousand titles a year on average,
and trails only Hollywood and
Bollywood in terms of revenues. The
films are hastily shot and then
burned onto video CDs, a cheap
alternative to DVDs. They are seldom
seen in the developed world, but all
over Africa consumers snap up the
latest releases from video peddlers
for a dollar or two. And so while
Afolayan’s name is unknown outside
Africa, at home, the actor-director is
one of the most famous faces in the
exploding entertainment scene
known — inevitably — as
“Nollywood.”
On a continent where economies
usually depend on extracting natural
resources or on charity,
moviemaking is now one of Nigeria’s
largest sources of private-sector
employment. Walls around Lagos are
plastered with posters reading,
“Actors/Actresses Wanted.”
Nollywood stars are everywhere,
from billboards to glossy tabloids
filled with pictures of red-carpet
events. The African Movie Academy
Awards, held each year in the oil-rich
Niger Delta region, have become a
lavish spectacle, drawing visitors like
Forest Whitaker and Danny Glover.
Nigeria’s president, Goodluck
Jonathan, has recruited Nollywood
stars to campaign with him, while
Afolayan and others have lent
prominent support to a protest
movement called “Occupy Nigeria.”
And yet most of the movies
themselves are awful, marred by
slapdash production, melodramatic
acting and ludicrous plots. Afolayan,
who is 37, is one of a group of upstart
directors trying to transcend those
rote formulas and low expectations.
His breakthrough film, the 2009
thriller “The Figurine,” was an
aesthetic leap: while no viewer
would confuse it with “Citizen Kane,”
to Nigerians it announced the arrival
of a swaggering talent keen to upset
an immature industry. Unlike most
Nollywood fare, “The Figurine” was
released in actual theaters, not on
cheap discs, playing to packed
houses next to Hollywood features.
“Many observers,” Jonathan Haynes,
a scholar of Nollywood, recently
wrote, “have been waiting a long
time for this kind of filmmaking,
which can take its place in the
international arena proudly and on
equal terms.”
In contrast to Nollywood’s chiseled
leading men, Afolayan is stout,
speaks with a laid-back drawl and
has a noticeable scar on one side of
his face from a car accident. But he
has undeniable charisma — a quality
his admirers say he inherited from
his father, an actor and legendary
playboy. One sticky August night, I
accompanied Afolayan on a prowl
through Lagos, weaving through the
metropolis in his monstrous pickup
truck. We ended up at an open-air
nightclub called King Sized, where
heads turned as he made his
entrance with a boisterous
entourage. In West Africa, a famous
presence demands recognition, so
the resident highlife band swiftly
shifted into an impromptu praise
song. “Kunle Afolayan,” the vocalist
began to trill, “Kunle Afolayan is
here!”

As the singer celebrated his name,
Afolayan nonchalantly sipped from a
sweaty beer bottle. This was a
scripted ritual; the entertainment
didn’t come free. The chorus reached
a crescendo as Afolayan, dressed in
faded jeans and bursting from a
sheer white shirt, came forward with
a huge stack of Nigerian banknotes.
He began to dance, shaking his hips
and moving his feet, casting off bills
with fluid flicks of his wrist — a
tribute Nigerians call “spraying.” A
band member crawled around,
scooping up cash, while Afolayan
delighted in the adulation.
When I visited Lagos, Afolayan was
preparing to start shooting his
follow-up to “The Figurine.” He told
me he hoped to emulate his hero,
Mel Gibson, another actor-director
from a remote English-speaking land
with outsize appetites and
ambitions. “It’s sad,” Afolayan said of
Gibson’s recent self-destruction. “I
love Mel and I’m such a fan of his
work.” He was quick to distance
himself from Nollywood and its
streetwise art of “guerrilla
filmmaking.” “Their mind-set,”
Afolayan said, “is totally different
than mine.”

For all of Afolayan’s grandiose talk,
however, the economic realities of
African filmmaking conspire against
an improvement in quality. The
consumer base is huge — there are
more than a billion Africans, 155
million of them in Nigeria alone. But
access to those buyers is controlled
by the clannish merchants who
congregate on the outskirts of Lagos
at the Alaba International Market, the
distribution hub of the African movie
business.
To visit Alaba is to catch a glimpse of
entertainment in its Hobbesian
state, where few laws restrain
profiteers, piracy is rampant and all
creative calculations yield to the
lowest denominator. The market’s
cramped concrete stalls are piled
high with video CDs packaged in
garish paper envelopes. Men pulling
carts laden with boxes jostle
through unpaved alleyways, passing
under flapping banners advertising
new releases like “Mama’s Girls” and
“Demonic Attack.” Castoff plastic
discs, the detritus of digital
replication, litter the muddy ground
like seashells.

This may not be quite what Jean-Luc
Godard had in mind when he
recently declared that with digital
cameras, “everyone is now an
auteur.” But it certainly represents a
vision of what the future could hold
— and not just for Nigeria — if the
practice of making entertainment
ceases to be rewarding to
professionals. Even as Afolayan
tossed off cash for his song, he faced
a vexing challenge in making his
next film: who was going to pay for
his work? When everyone is an
auteur, who values artistry?
On a Saturday afternoon, in the
last hour of precious daylight, Osita
Iheme was ready to work. A dwarf
popularly known as Paw Paw, and
the star of a string of politically
incorrect hits with titles like “Baby
Police,” Iheme is one of Nollywood’s
most bankable actors. In his latest
film, an ensemble comedy set in
cramped slum housing, he was
playing the lecherous son of a
landlord. The director, working with
a single Sony digital camera,
watched the scene unfold on a beat-
up TV monitor. It involved a
scatological sight gag, a
confrontation with a gaggle of
female tenants and lots of
screaming. Iheme set his face in an
exaggerated glower as the actor
playing the landlord wagged his
finger and bellowed, “You have
turned my place into a market
square for madwomen!”

Nollywood’s bawdy humor — or
fright or fantasy — appeals to a
public seeking escape from
depressing living conditions. The
industry itself was born out of
economic desperation during the
early 1990s, a period of military
dictatorship, low prices for Nigeria’s
oil and Western-mandated
“structural adjustment” of its
economy. Actors and cameramen
were out of work because of budget
cuts at the national television
station. Movie theaters were closed
because no one wanted to venture
into the dangerous streets at night.
According to legend, the first
Nollywood movie was made by a
small-time electronics trader named
Kenneth Nnebue, who, stuck with a
large shipment of blank videotapes,
decided to unload them by making a
movie about a man who sells his
soul for wealth. That movie, “Living
in Bondage,” sold hundreds of
thousands of copies and established
Nollywood’s archetypal plot
elements: martial discord, greed, a
conflict between Christianity and
juju, as the occult is called in West
Africa. From these accidental origins,
a cultural phenomenon emerged.
Other merchants, overwhelmingly
members of Nnebue’s ethnic group,
the Igbo, followed him into business.
They literally made things up as they
went, shooting movies in just a few
days, based on vague scenarios
instead of scripts. Directors
approximated tracking shots by
pushing their cameramen around in
wheelchairs. Quality was shaky, but
the buying public didn’t care.
Between 1994 and 2005, production
in Nigeria went from a handful of
feature movies a year to more than
2,500.

“We watch these Africa films like
‘Blood Diamond’ and ‘The Last King
of Scotland’ — they’re always from
the perspective of the Europeans,”
says Lancelot Oduwa Imasuen, who
has directed more than 160 features.
He was the subject of a documentary
called “Nollywood Babylon,” which
was shown at the Sundance Film
Festival, and he told me that when
he went to the festival, he was
shocked to discover that some
American directors had been
working for years to make just one
movie.

adioolayi:
Piracy eating deep! Film makers are not as rich!

That's the itch bro. Piracy destroying the industry faster than the speed of light.

nollywood

anyway i have never one day see ghana movies as a big threat or competitors to nollywood movies,
the only intimidation the ghanians actors or actresses gave a big blow to nigerians actors or actresses is their boldness to displayed the act of nudity in their numerous unprincipled and uncultured movies which a nigerian cultured men will not like to engage on,if not ghana gollywood cannot competes or cause a threat to nollywood..
when i heard frm the very first time that living in bondage is the first home video in nigeria,it took me time to understood d meaning of home video cos i ve been watching programs like things fall apart,ripples and the village headmaster but they re not home video and i say kudos to the man behind the success,kenneth nnebue and today we cannot discuss nollywood without his name and his first home movie not mention..
nollywood in its nature can now be rated alongside hollywood and bollywood, this is a signs that good things comes frm africa..

kudos to the godfather of nollywood (pete edochie)
kudos to the godfather of bollywood (amitahb benchan)
kudos to the godfather of hollywood (james bond) or syvester stallion..

yu guys fascinated me with your unique roles in the scenes..
And let me thank the rest of the actors and actresses too.
sharon stone[hollywood] hmm good instinct ..
angelina jolie[hollywood]hmm also good..i lov her..
anold swertzernegger,[hollywood]best commando,hmm lov him..
syvester stallion[hollywood],hmm aka rambo,tough man

sharuhk khan[bollwood],handsome lovaboi.
karrena kapor[bollywood],hmm she s good.

emeka ike,nonso diobi,jim iyke and ramsey noah,[nollywood]hmm gud stuf.
omotola ekeinde,genevieve nnaji,tonto dikeh and stella ojukwu damascus..

yu guys have made hollywood,bollywood and nollywood what it s today and kudos to the ones i didnt mention..one love..

It happened while GEJ is the commander in chief yet they didn't mention. All they know how to do is to insult and call the president names. How do they think Nigeria achieved the largest economy in Africa? It's not a magic or overnight. It was a big efforts made by the federal government they accused. Ignorant people, as for me and my entire family we've chosen forward ever and backward never...



GEJ till 2019

Why are we celebrating "Quantity" not "Quality"? We are number two in the world because we churn out movies like pure water. Very few directors take their time to groom a movie properly, With N100k or less you have a Nigerian movie, it wouldn't even take a week to produced it . In three days it's done, all in a bid to make quick money. The movies are even repetition of some sort. They know what Nigerians like so they act the same thing over and over again changing little details. Nigeria films are always about;
-A poor dude who suffer and then finally became wealthy
-A woman rejecting a man who loves her blahblah
-witchcraft/juju
-Cultism stuffs .

No matter the name or packaging it always revolve around this in some ways. Did i also mentioned they are bunch of copycats without class. The Indians churn out movies more than us but in a unique way. I rather stick with Bollywood and Chinese movies.

Talking about an American producer trying to produce a movie for years and a Nigerian producer producing a movie withing days...... America produce with passion but here in 9ja even blackberry bold 5 can be used to film... E.g Mr Ibu and co...... No qualms Naija still trying.

Nollywood is currently employing over 5,000 people directly and indirectly and has made hundreds of millionaires. That's the angle I want us to look at. That's transformation.

The music industry has employed over 1000 people, and thrilled over 100 million people., made thousands of millionaires; That's the angle we should focus.

That's transformation.

We should embrace our gains, and stop insulting growth process. Rome wasnt built in a day. Hollywood is over 100 yrs old. Nollywood is our baby, its growing.

Hehehehehehe.... Number 2 in the world in terms of quantity but wot of quality.
Nollywood will have to sit down down there if we are talking of quality.
Nollywood the movie industry where the numba of times Jide Kosoko acts in movies in a year surpass the total numba of what some big hollywood actors act in their whole career. Check the numba of movies Jean Claude Van Damme features in in his whole career and compare it to that of nollywood stars in a year....

Tribalism alert!

ChristyG:
as in,kunle afolayan is d best,i dont care what anybody says.all his movies are way better than those thrashy ones they show on africa magic,from irapada to figurine.and also tunde kelani too

Are you a tax collector?

dallyemmy:
Where is the tax that accrued to Nigeria from the industry?

Thumb up to Andy Kenneth Okonkwo, I remembered watching living in bondaged in my home town when I was a kid, I could not sleep that night after watching the movie, what keeps coming to my mind is Andy oburu na ikpotaghi nwunye gi taa inwu o. Living in Bondage the best I have watched followed by World Apart that brought out Ini Edo.

naija we too much.

shammah1:
Tribalism alert!

yeah but ur blind self wont see the op's own.abeg swerve jor