INTERVIEW: What I Find Most Attractive In A Man — Genevieve Nnaji

Genevieve Nnaji attends the 13th Annual Essence Black Women In Hollywood Awards Luncheon at the Beverly Wilshire Four Seasons Hotel on February 06, 2020 in Beverly Hills, California. Image: David Livingston

AZHU ARINZE’S CONVERSATIONS WITH SHOWBIZ STARS

How does it feel to have risen this far within so short a time?

I’m trying to handle it as much as I can. It feels fulfilling. I feel I’m having the best of my time. I feel the Lord is with me. I feel I have been able to make an impact on people and I have a lot of fans and I’m enjoying my life. It feels good.

To what or whom do you owe all that?

God’s gift, talent, determination, pride …

What do you mean by pride? They say it goes before a fall. And now you are saying it is responsible for your success?

You have to have pride to be able to stand the crowd, you have to have pride to be able to stand the intimidation and arrogance of people. Especially people who feel you have to pay dues to get to where you are going. You have to have the pride and stamina to tell them boldly you know what you are doing; they didn’t bring you to the industry, you will leave when you want to and you leave because you want to.

Where do you want to or hope to be in the next 10 years?

In the next 10 years, I know I will be married with kids. But I think it all depends on what God has fashioned out for me. I know I will still be in the entertainment industry or the fashion world or whatever.

What do you like most about stardom?

The fact that it opens doors for you is what I like most about it. You walk into a place and every other person is queuing up for one thing or the other, they just start to recognize you. Oh! come in, come in… it’s actually a door opener for us or for me. It has brought respect, especially when you do what you are doing well. What I hate most about it is the price that we get to pay for stardom- negative publicity, the untrue scandals; actually, the only thing I hate about is the bad press.

What will you say is the worst story ever written about you in the press?

So many bad things. But the one I hated most was the one of Fred Amata and I, which I don’t know where they got it from. It hurt me so much. It was not just fair.

How do you feel anytime you read negative things about your person in the media?

Certainly, I don’t feel good…

What if the stories are true, but maybe you were not expecting them to be published?

It’s rarely been the truth . Maybe a bit of it, but that’s not how it happened. The press never tells the story the way it is. It’s usually a bit from here and a bit from there. For a very long time, they have not written anything true about me…

How did you come into the movie industry?

I have been acting since I was eight in Ripples. that was how I got into acting. For movies, I think that should be 1998 in Most Wanted. I met Torino (Emeka Ojukwu) in a bus and to my greatest surprise, he recognized me, from Ripples, when I was about eight, nine. He asked why I left the industry. He later invited me to this audition- Most Wanted. I got a role, a ‘waka-pass’ and that was it.

But the story we heard was that Kunle Coker brought you in and that both of you even dated?

Yes, Kunle Coker was actually my boyfriend. But he did not bring me into the industry.

What do you find most attractive in a man?

The fact that a man will take me for who I am, not for what he hears or what he believes. I like people who take me for the me they see. That’s the most important thing. And have regard for me. And trust too.

What do you think is the biggest mistake that men make with women?

Everyone makes mistakes. But to me, I will not tolerate any man who

hits women. To me, that’s evil.

Do you believe in love at first sight?

I believe in infatuation at first sight. Love is a very strong feeling. It does not just come. People think infatuation is being in love. They are two different things. You don’t know anything yet until you get to meet the person and you begin to fall in love. Not just physically, but externally with the person.

Can you recollect the first time you fell in love?

Yes!

Tell us about it.

I think we met at a show. This was when I was in secondary school and we shared a lot of things in common- singing. It was a case of two compatible people who were so much in love with each other and…

So, what eventually happened?

Like I said, relationships must come and go. You can’t help everything that happens. Some things just happen for no reason .

What’s your definition of love?

Love has to be understanding, caring. Love, to me, is being with somebody for 24 hours without being bored. Love is catching your breath every time you see whoever you are in love with· Love is friendship, love is understanding and love is trust.

Do you believe in being faithful in a relationship?

Yeah! I’m very faithful.

Can you date a fan?

I’ve never dated a fan. And I don’t know if I can. But people come around to toast as per fans. But it’s a matter of nicely telling them off. There are different reasons why fans like or love artistes. So, it actually depends on why my fan loves me. It depends. Although, I don’t think it is advisable to date a fan. The reason being that people are in love with what they see on the screen, not the real you.

What’s your greatest wish?

That God continues to bless me. Especially with the right man and a good family.

What’s your favourite colour?

Blue.

What are your hobbies?

Singing, dancing…

Let’s have your bio-data. People don’t seem to know much about you?

I’m from Aboh-Mbaise in Imo State. I went to Kemistar Nursery and Primary School, Surulere; Methodist Girls High School, followed by one in Ikeja. I kept on moving. But ended up at Girls Secondary School, Akwakuma in Owerri, Imo State.

Why have you not furthered your education?

Life is not the same for everybody. Some people are so lucky, they come out of secondary school and they go straight to university because they have the back-up of people and it’s so easy. It looks simple…mine was different. But I’m determined. Definitely, I’m gonna go back to school. I wanted to make money, I love my money, I cherish my own money. So, I will go back when I’ve made enough. But even while I’m there, I won’t stop working.

Tell us about your parents, what do they do?

My parents are there. My mum is a teacher and my dad is retired.

What was your dad into before his retirement?

He was a bank manager with African Continental Bank (ACB) …I’m the fourth of eight children, the third girl. We are four girls, four boys. I come from a very strong Christian family. And I think that has been able to have an effect on my life, especially since I came into the industry. You see, even when people go out to say all sorts, my mother knows the kind of daughter she has. She knows the limit that I can go.

She must have been devastated when you took in, in your teens?

Well, well …I think so.

What was your childhood like?

My childhood was fun. It was fun. You don’t get to get all that these days.

What’s the greatest complement that has ever come your way?

My complexion.

.......VANGUARD

CINEMA: Why Nigerians Living Abroad Love To Watch Nollywood Movies

A man passes by Nigerian movie billboards at a cinema in Lagos. Image: Cristina Aldehuela/AFP/Getty 

BY FRANCOISE UGOCHUKWU

The Nollywood industry – which came to life in the early 1990s – is often seen as a natural heir to the Nigerian TV series which had already produced roughly 14,000 feature films in the previous decade. These video-films of the early years have now become full feature films, and an integral part of popular life in Nigeria. Local audiences appreciate these homegrown productions relating to daily life in the country.

The films – about 1,000 are produced a year – offer a mix of urban scenes and village encounters. They appeal to both young people and to families, reaching out to local audiences in several Nigerian languages. The films are mainly produced in the big cities in the south of the country such as Lagos, Onitsha, Enugu, Aba, Ibadan or Calabar, though they are usually set in Lagos or Abuja and involve crews and actors from various ethnic backgrounds.

While Yoruba and Hausa filmmakers have opted for productions foregrounding their respective languages, statistics show that the number of films in Igbo, the language most commonly spoken in Eastern Nigeria, has been infinitesimal. Most of the films emanating from Igboland are in Nigerian English, a choice which has allowed them to reach out to wider audiences in other parts of the country and abroad. This has made them an instant hit and projected Nollywood on the international scene.

The number of films produced in other Nigerian languages such as Esan, Edo (Bini), Urhobo, Ijo, Hausa and Ogba has equally gained momentum.

Over less than three decades, Nollywood has gained an international reputation and inspired new film industries across Africa. The industry is widely considered as a showcase of the country. Interestingly, although a growing number of these films are now set in locations abroad, most remain firmly grounded in Nigerian cultures.

Over the years, the African public has come to discover and appreciate Nollywood. Nevertheless, outside Nigeria, its main public remains the Nigerian diaspora. Research carried out in London and Paris nine years ago sought out the opinions of Nigerians living abroad about the films.

The research showed that respondents spend a significant portion of their leisure time together with other Nigerians or other Africans, viewing Nigerian videofilms. They overwhelmingly preferred them to foreign films. These observations have since been enriched by follow-up interviews, confirming that these results remain relevant.

Scripting and scene-setting

By and large, protagonists in Nollywood films adhere to ancestral beliefs and carry on with most rural traditions.

The ancestral village that nurtured these beliefs never disappears entirely. It is nearly always the scene of at least a few family encounters. The acknowledgements that follow the film give precious few details about the places used, such as community centres, hospitals or churches. The village is usually signalled by narrow paths, mud houses, grassy compounds and farmlands, people in wrappers, bare-chested men or chiefs in traditional attire and oja music.

The set is far less important than the content; it is just there to provide a background to the protagonists’ actions and to reinforce the message that the individuals’ behaviour is partly determined by their family background.

Both the ‘old’ Nollywood and its ‘new’ version that has developed within the past 20 years have highlighted the premium value still given to the concept of extended family, the bedrock on which most scenarios are constructed. Yet storylines point to the flaws of the traditional family system and reflect on the malaise experienced by a country in the throes of rapid changes, leaving traditions behind and often incapable of replacing them with new values.

Subjects woven into the plots include polygamy turned sour, marital infidelity and couples drifting apart, obsession with male heirs and problems associated with childlessness, and strained relationships with in-laws and with rural folks.

Films also denounce other social ills. These include the traditional maltreatment of widows, political corruption and some of the troubles associated with urban life.

All these topics appeal to a broad African audience and have helped to lead to African co-productions.

The crucial role of Nollywood in Diaspora
Nearly half of those interviewed in my research said they preferred watching Nigerian films in English. A quarter preferred Yoruba while 16% preferred Igbo. Even so, over 58% of those interviewed considered that Nigerian languages played a role in the pleasure they derived from viewing films. They clearly perceived those languages as part of their cultural heritage and identity, a legacy to be cherished and protected.

Respondents equally considered their Nigerian language as a vital tool to communicate with older relatives in Nigeria and keep in touch with their roots. One of them says it beautifully:

It makes me feel more at home once I speak my language.
Unsurprisingly, language featured prominently in the list of what attracts viewers to Nollywood, second (50%) after the storyline (71.7%). Factors such as landscape and clothes, body language, houses and dances trailed behind.

Viewing Nigerian movies can therefore be seen and experienced as a trip down memory lane, a virtual journey back home and group therapy. A number of respondents also insisted on the educational value of the films, saying that “they have a moral tale to tell”.

Looking forward

Given the growing number of Nigerians migrating abroad in the current political climate, and given the proven benefits gained from regular watching as proven by my research and interviews, one cannot but encourage the current trend, which has seen a number of London and Paris cinema houses screening films belonging to the new Nollywood co-productions. Their recorded success will no doubt help Nigerians adjust to their diasporic situation while enriching the cultural scene of host countries.

SOURCE: THE CONVERSATION

From Living In Bondage To Lionheart: Nollywood's Thorny Path To Its Digital Future

Living in Bondage: Breaking Free, produced by Charles Okpaleke and directed by Ramsey Noah in his directorial debut is a Sequel to the 1992 release.

BY EDWIN OKOLO

In January 2019, American media giant, Netflix, made a splash by premiering Genevieve Nnaji’s directorial debut, Lionheart, exclusively on its streaming service. In a deal brokered by Funa Maduka, months before, at the Toronto International Film Festival, Ms. Nnaji became the first Nigerian filmmaker to debut their project to an international audience in this way, paving the way for the flurry of Nigerian films that would follow in the coming months and closing the circle of digital distribution for online content that began exactly 10 years before with a little show about sexual awareness. To understand how Nigerian media made the leap from video clubs and viewing centers to a winner-takes-all streaming war, we need to go down a tunnel of tax havens, gambling banks and the rise of social currency.

The Internet knocks but once

The first media wave began in 1992 with Living In Bondage (which 27 years later has been revived with a second installment). There are many accounts of how the film was made, but what was not in contention was how successful it became. Funded almost entirely by businessmen turned financiers, the first iteration of Nollywood was almost entirely profit-driven and rode the direct-to-video wave for most of the 90s churning out the bulk of content that today has a second life as Tumblr memes and the subversive work of the sisters behind Instagram account Nolly.Babes. The mass of films from that era eventually led to the rise of the first generation of Nollywood A-listers, whose ascension led to controversies like the G8 ban of 2004, and set in motion the eventual decline of the O.G Nollywood marketer and the rise of what we refer to today as ‘New Nollywood.’ That decline was marked by a decided shift in the viewing habits of Nigerians.

There are many reasons for this decline. The first generation of Nigerians raised on some form of cable television came into adolescence hungry for global content. Piracy soared in response to their demand, competing with and eventually decimating Nollywood pulp cinema.

A presidential order by Olusegun Obasanjo in 2001 led to the introduction of Global Systems for Mobile (GSM) Telecommunication networks into Nigeria. New licenses and impressive waivers on operational taxes drew major South African players MTN to invest in the Nigerian markets and usher in privatised, profit-focused mobile telephony. By 2005, MTN, Glo and Econet had introduced mobile internet services to the media market. A direct consequence of this was that it became significantly easier for young people to not only curate the content that they consumed but to also seek out niche content that was either unavailable because it was currently out of syndication or unavailable because terrestrial television stations could not afford to license them. Hunched over desktop screens and cheap Chinese disc players, Nigerians gorged themselves on content.

The second major catalyst was the Blackberry Internet Service (BIS). A unique feature of the Blackberry Service Suite, created specifically as a business tool for Blackberry, a major mobile player in the 2000’s; the BIS was a closed Internet Service Provider network that clients could access for a certain fee and it offered a heavily discounted alternative to the exorbitant data charges of the mobile networks offering similar services at the time. While created primarily for businesses, the BIS network’s significantly cheaper data services encouraged early experimentation with streaming and downloading of digital content for entertainment. Websites like NotJustOk and Jaguda were the first to capitalize on this new craving for digital media created by Nigerians for Nigerian consumption. Early P2P sharing platforms like Limewire were all the rage.

 

The Academy Awards disqualified Lionheart in its foreign language film category.

The third and most influential catalyst was social media. Before the advent of Facebook in 2004 and Twitter in 2006, it was incredibly difficult to build local communities around media interests. Fandoms were rare in Nigeria, and it was difficult and expensive to organize or participate in events that celebrated mutual interest in any kind of activity. Yahoo Groups and Yahoo 360 had offered rudimentary versions of fan-based platforms but they had been targeted primarily to Western audiences. Facebook groups, however, were easier to navigate and provided a neat and impersonal solution that simply allowed fans of a TV show or musician to ‘opt-in’ to groups and pages that had relevant information about these interests and allowed fans to find each other virtually. By 2010, it wasn’t uncommon to find fan-managed celebrity Facebook groups and pages with 100,000 fans. Twitter would accelerate the process through live-tweeting, real-time reviews and analysis of shows as they aired. Combined with the ‘opt-in’ feature of Twitter’s follow model, fans were incentivised by social currency to offer their opinions on digital content and media companies were more likely to create content that would trigger that kind of engagement.

Social media, in combination with cheaper mobile internet, meant there was a steady stream of conversation happening at any point in time in already segmented audience groups. All that was left was to create media content that specifically catered to the needs of these groups and a pioneer to get things started.

Media moves online
That pioneer turned out to be MTV. The product was MTV Shuga, a YA-oriented television show that drew from the true-grit model of Western tween television shows revolving specifically on how a group of teens and young adults dealt with the fallout of either living with or interacting with people with HIV. The hysteria around HIV was at its peak in 2009 and MTV Shuga was one of the first shows that did an excellent job of destigmatising the condition. The show also launched the careers of Lupita N’yongo and Nick Mutuma. Released originally only to Kenyan audiences, the enduring buzz around the show led to an online release on YouTube and its second season in 2012. The concurrent release of the show online opened MTV Shuga to an otherwise ignored demographic and most likely inspired the showrunners to move the show West to Lagos for a follow-up season. It seems too much of a coincidence that Ndani TV, Guaranty Trust Bank’s innovative media offshoot, was launched in the same year.

MTV Shuga Naija was a runaway success. Like it had with Lupita, the show launched the careers of Dorcas Shola Fapson and Timini Egbuson, proving unequivocally that there was an audience for content accessible only by streaming. There was an audience, primed for conversations, looking for content to engage with.

Until that point, Tajudeen Adepetun of Consolidated Media Associates and AlphaVision Productions had been the only showrunner to find a sweet spot between accessible storytelling and passable execution. He had conquered television with shows like Everyday People & Treasures, and engineered Nigeria’s enduring obsession with Mexican telenovelas but seemed unwilling to expand into digital. Even his archive of beloved television soaps remained in syndication on terrestrial television. It would take the intervention of Nigeria’s banks to change things.

Guaranty Trust Bank was the first to launch a digital media imprint. Ndani TV, its imprint, was launched early 2012 evolving from a quarterly newsletter of the same name. In its primary role as a content marketing platform for the bank, the platform was helmed by Lola Odedina and Jade Osiberu with Mohammed Attah as the channel’s first showrunner. Without any prior experience in creating content specifically for a digital platform, Ndani experimented with interview style shows, before striking gold with scripted web shows. Gidi Up, their first web show, was a huge gamble.

The studio invested heavily in the show’s production values and hired relatively unknown actors as the show’s six leads. Even the choice to have a multi-lead cast and flesh out multiple storylines was a gamble itself. But the storytelling and Osiberu’s understanding of youth culture helped transform their ambitious ideas into a cult-making season of entertainment. Overt with their branding and ruthless with their advertising, Ndani became synonymous with new media; following the success of Gidi Up with tailored shows like the Youtube juggernaut Skinny Girl In Transit and Rumour Has It.

United Bank for Africa, (now defunct) Diamond Bank, and Access Bank launched RED TV and Accelerate TV to carve their own niches on YouTube and tap into the goodwill that Ndani extended to GTB. Emboldened by the success of Ndani’s programming, both platforms began to experiment with finding their own formats. High profile partnerships with EbonyLife’s Temi Abudu and director Kemi Adetiba led to Accelerate TV’s scripted reality TV show On The Real and their wildly successful interview series King Women. RED TV experimented with meta-comedy, hiring comedian Koye Kekere-Ekun to expand his social media shtick into a detective series called Inspector K.

Ndani has remained the front runner in the race to dominate YouTube despite tragedies like the loss of all its footage for a highly anticipated third season of Gidi Up, and scandals like its reactive decision to scrub the Ndani channel of its 2019 show Oga Pastor mid-season to avoid getting entangled in a co-incidental religious scandal involving a high-profile pastor. But it has also lost significant ground to shows like Accelerate TV’s The Shade Corner (which took three years and two seasons to find its level) and RED TV’s surprise hit The Men’s Corner.

The only real contender for the Big Three on YouTube at this time is LowlaDee productions, an independent production company run by Dolapo ‘Lowladee’ Adeleke. Adeleke’s production company made its name with This Is It, a crowd-pleasing rom-com manufactured to leverage the combined West African and East African digital biomes.

A free for all

The big three (Accelerate, Ndani and RED) got a few years’ head start before the technology evolved enough to shed much of the prohibitive costs that had kept independent players from entering the market. Now that those barriers are gone, digital media content is well and truly anyone’s game.

Long-time veteran Jason Njoku, in partnership with his wife and business partner Mary Remmy Njoku, were early adopters of streaming apps whose primarily sell is exclusive, locally created content. Her shows Husbands of Lagos and Festac Town helped streaming platform IrokoTV pivot away from its archive of vintage Nollywood content and build a contemporary fanbase.

The Njokus have been so successful at creating digital content and courting digital audiences that Mary Remmy was able to broker a major takeover deal with French media giant Canal+. The sale speaks to the current state of Nigeria’s digital media and the growth that has occurred in the last decade. Mrs. Njoku’s sale is phenomenal because Rok Studios is less than 5 years old and until its sale was run independent of external funding.

There is, of course, Linda Ikeji’s attempt to expand her media empire beyond blogging with her Linda Ikeji TV streaming service that had early viral shows like King Tonto and Oyinbo Wives of Nollywood. SceneOneTV (owned by Funke ‘Jenifa’ Akindele) is a niche but self-perpetuating vehicle for Akindele’s personal projects that include the now-labored Jenifa’s Diary and a spinoff show, Aiyetoro Town. Even media mogul Mo Abudu got in on the action with EbonyLife ON (which was sold to audiences by exclusively streaming its glossy legal drama ‘Castle and Castle’ on the platform). Streaming is such a competitive market that even DSTV, feeling the burn of digital media, created ShowMax, its own answer to the streaming wars and the primary distribution vehicle, for its big-ticket show, the Big Brother Naija franchise.

An inevitable consequence of the local audiences finally paying top money for their entertainment is that they now have demands. After nearly 8 years of majorly phenomenal press, Ndani suddenly found itself in a maelstrom of bad press. Agitations have long simmered about the firm’s alleged disinterest in the fans’ concerns, as encapsulated by their refusal to release an official statement on Gidi Up, and consequently the decision to pull its preacher thriller, Oga Pastor, off-air mid-season and replace it with Phases, a show shot and released so hastily its working title was changed after the first episode had aired. Fans have openly promised to boycott and are voting with their clicks and money.

How will the next decade of Nigerian film and television media evolve?

It is hard to predict. Nigerian innovators like Joel Benson are already experimenting with 3D imaging and augmented reality in the same market, ‘Asaba Nollywood’ still coughs up enough pulp cinema to keep the poorest Nigerians entertained. However, it is more difficult to predict if the big three will stay fascinated with their content marketing platforms enough to finance them for another decade without a clear path to independence and profitability. Cheaper tools mean Nigerians are directing and attempting ambitious projects at much younger ages than we’ve ever seen; figuring out the logistics of distribution and revenue channels as they go along.

In a nutshell, while the industry has never been this potent, it remains to be seen if this potency will lead to an expansion or an implosion.

Edwin Okolo is a journalist, fashion critic, and artisanal crocheter. He has written for the New York Times, Native Magazine, African Arguments, and Sable Lit. He is the editor-in-chief at YNaija.com

Nnaji's 'Lionheart' Disqualified For The Oscars, Sparks Social Media Uproar

BY YOHANA DESTER

Back in April, the film Academy announced that it was renaming the best-foreign-language-film category to best international feature film. The reason? The term “foreign” felt “outdated within the global filmmaking community,” the Academy said in a press release. At the time it didn’t stir as much of a debate as the quickly scrapped best-popular-film category had the year before. But now the Academy is taking the heat this week because Lionheart, Nigeria’s first movie submitted for best international feature film, has been disqualified, according to the Wrap.

Lionheart, a drama starring and directed by Genevieve Nnaji, was reportedly disqualified because even though it is filmed partly in Igbo, a Nigerian language, it is mostly in English. That means it violates the Academy’s rule that a submission to the category has to have a “predominantly non-English dialogue track.” Voters were made aware that Lionheart would no longer be eligible on Monday, just days before the Academy was set to screen it for voters in Hollywood.

The announcement has sparked a debate online, with some users noting that Nigeria’s official language is English. “Are you barring this country from ever competing for an Oscar in its official language?” Oscar-nominated director Ava DuVernay wrote in a tweet directed at the Academy’s official account.

Nnaji herself also addressed the controversy, responding to DuVernay’s tweet and saying Lionheart “represents the way we speak as Nigerians. This includes English which acts as a bridge between the 500+ languages spoken in our country; thereby making us #OneNigeria.”

“It’s no different to how French connects communities in former French colonies. We did not choose who colonized us,” Nnaji added. “As ever, this film and many like it, is proudly Nigerian.”

The disqualification marks a divide between the category’s name change and its perhaps impractical, uncomfortable application in the real world. As film critic Guy Lodge noted on Twitter, the broader title does not specifically disqualify films in English, even if the rules do. “If you permit an English-language film from Nigeria to compete, then you have to permit English-language films from the UK, Canada, Australia, etc, to compete,” he wrote. “If you do that, the category's purpose in giving a platform to under-represented cinema is effectively compromised.” After all, he noted, best picture should technically be the best international film.

But perhaps the disqualification should come as no surprise to Oscar watchers. As Bong Joon-ho recently declared in a Vulture interview, the Oscars “are not an international film festival. They’re very local,” a sly burn of the century that highlight the awards ceremony’s myopic view of the global film community. Meanwhile, Bong’s latest film, the Korean-language Parasite is predicted as one of the front runners of the best international film category.

Lionheart’s disqualification now brings the number of international film contenders from 92 to 93 entries. Qualified films in the category will be announced on October 7.