Obi Emelonye is a UK based Nollywood film writer and director. Some of the movies he directed include The Asylum (2008), Sweet Betrayal (2007), Lucky Joe (2006), The London Successor (2006), Echoes of War (2006). Here, he speaks to Ifee K. Chukwu about his new movie, The Mirror Boy.
The Mirror Boy; how did it all begin?
The Mirror Boy has been in the making since 2005. I was speaking to a fellow film maker and he mentioned that there was nothing in Nollywood that is made from a child's point of view. And after D'Kachy my first son was born, I discovered how disconnected he would be from my Nigerian roots, unless I innoculated him with ‘Nigerianness’ or ‘Africannness.’
So to cater for these two motives; first of all, making a so-called children's film and secondly and more profoundly, telling a tale that will help the average child born or brought up in the diaspora through the confusing duplicity of identity competing for their attention. So the Mirror Boy was born.
What was the most difficult part in directing it?
Directing a film is not just calling shots or guiding actors. It involves a whole gamut of collation of all the creative factors of production; like the cinematography, the costumes, the make- up, the locations, the props and the actors as they interface with all of the above. The Mirror Boy was shot in the Gambia and London with cast and crew from the UK and Nigeria. Organising all these different talents logistically and also artistically into one united creative force was tough. The story of The Mirror Boy has kept me awake a few nights and it was a relief to get it out. And seeing what we have produced, fills me with great pride. Now I know how mothers feel!
Genevieve Nnaji, Osita Iheme (paw-paw) played major roles in this film. Yet, there is a little debate about the film not being a nollywood film but a feature film. Please clarify.
If there is s debate to that effect, then I have not heard it. Yes the film had a UK crew; Clive Norman, my Director of Photography and Patrick Campbell my producer, to mention a few. It also had Gabriel Okorie, 2-time winner of AMMA award as a Make- up artist. Then there was Genevieve and Osita and myself as Writer and Director. A film is classified to a country if the Director or Producer or leading actors are from that country. And this is irrespective of where it was shot. I think some people have looked at the trailer and said that a Nigerian film cannot be this good. A Nigerian film can be this good. Nollywood is moving on and The Mirror Boy epitomises this change.
Genevieve Nnaji played a major role as always. Do you think the film will more successful as a result of her input?
Genevieve is one of those artistes who give everything that they have to each role. What you get is an authentic and wholehearted performance that is believable and compelling at the same time. Filming with her in the Gambia was enough to convince my UK crew who knew little about her that she was a genuine international star. She was inundated by admirers and fans each time we were in public. The fact that we had 15 soldiers permanently drafted to us by the President of Gambia was not enough to keep them at bay. The internet is now with story, some true and some annoyingly fabricated about The Mirror Boy and Genevieve. That is a testament to the woah factor she brings to the project. As a film maker you couldn't have asked for more. She is a great star actress and I can now call her a wonderful friend.
What was your favourite part in the whole process of filming?
The best part of film making is seeing it all come together. The solitude of writing and preproduction, the madness of the shoot, the disjointed, out of sync recording of the scenes, the numerous takes and CGI compositions; to see it all morph into a coherent integrated project right under your watch in the studio is like witnessing the birth of your child. Great and humbling!
Shooting in the Gambia, was it a walk in the park?
Shooting anywhere in the world presents its challenges, so Gambia was no different. However, when you have the support of a president, in this case President Yahyah Jammeh, then that is bound to smoothen what would have been a difficult shoot. We had soldiers and police, we had the freedom of the country, we had first rate hotel accommodation and we had the goodwill off the beautiful people of Gambia. I would say that The Mirror Boy shoot is the most remarkable shoot I have embarked on, so far. My decision to locate the shoot to the Gambia has been more than justified.
Most part of the film was shot on location in Gambia. Why?
I have been asked that question a few times and I have tried to be diplomatic each time; because whatever I say can be misconstrued. The story was originally written to be shot in Nigeria. It was to be shot at Obudu Ranch in Cross Rive State. I flew there and discovered that it was over 6 hours drive from Calabar airport on a precarious road to Obudu Ranch. Obudu Ranch itself was great and had all the exotic locations that we were looking for. But then the question became whether I will put my international cast and crew through the risk and rigour of travelling for six hours. After the experience I had with Stephanie Okereke on the set of The London Successor in 2005 (where she left the set and had that accident which scared her face and broke her leg) I did not want to risk that.
A friend of mine and collaborator, Fatima Jabbe had always preached to me about the beauty of the Gambia and the willingness of the president to welcome investors and partners in development. One phone call to her was all it took. I flew into the Gambia and was blown away by the reception. I was interviewed by the national TV on the tarmac of the airport. Then I was taken around by the Gambian Tourism Authority. When I saw Makasutu, my mind was made. The bulk of the film was shot in that single location.
As a UK based writer/director, expectations of your films are quite high. What are you doing to avoid disappointing your audience?
As you can see from the trailer of the Mirror Boy, we have tried to up the game in terms of storytelling, production values and the general feel of the film. Since 2004, all my films have shown in cinemas in the UK, starting with Echoes of war, which was the first black independent film to have a commercial run in UK cinemas. So, you could say my films have a cinema bias. So for starters, you don’t get the part one and two business. What you have is a complete story with no attempt to water down the plot for commercial reasons.
Then you could say my experience as a contemporary UK director for over six years sneaked through the project. The confidence of the stylistic storytelling, my use of resources and the collaborators on the project have meant a huge leap in standards. As I said earlier, this is Nollywood but better; with an international focus. I have a lot of faith in this project and the blood and sweat my team and I have put in it will be clear for all to see in the cinemas and on Dvd, eventually.
Is it easier to direct a film you’ve also written?
A film is made in three phases, the script, shoot and edit. So, if you are the director of the film and you have an input, exclusive or not in the writing of the script, it means that the ideas of the project are concretized in your mind. You know what each scene is supposed to do in the scheme of the entire plot. It will help your direction. I think a note of warning here is imperative. One person cannot have all the ideas. You need collaborators, not just ‘oh yes’ members. You need different perspectives and alternative points of view. You can only get that from allowing yourself to be criticized by fellow professionals. I am a team worker, even when I have taken credit for writing a script. I acknowledge the invaluable input of my team. In the case of The Mirror Boy, my wife and story editor, Amaka; Kola Munis, my friend that personally shaped some of the scenes in the film, Songo Bisong, and Nnorom Azuonye who were as excited as I was with the story of The Mirror Boy.
Who has been a major influence to you as a filmmaker?
I would say that my role model is Steven Spielberg. I have been affected by influences closer to home like the cinematography of Izu Ojukwu and the simplistic, emotive story telling of Tchidi Chikere. But more importantly, I have been shaped as a film maker by my chequered personal experience...my very philosophical father, being a theatre arts practitioner; being a qualified solicitor, a widely travelled father and husband and brother...all the things that have shaped my life personally have made me who I am professionally.
Will there be a UK or The Gambian or Nigerian premiere of The Mirror boy?
The Mirror Boy will be premiered first in the UK. This will take place at Leicester square Empire cinema. It is going to be huge event, the grandest premiere of any Black film in the UK. Then there will be premieres in the Gambia, Nigeria and maybe America. Just watch out for more info on our website http://www.themirrorboy-movie.com. Get prepared for glamour, pomp and pageantry.
When should we expect the next Obi Emelonye movie?
There are loads of projects in the pipeline. For now, for the foreseeable future, I will devote my life to making The Mirror Boy the most successful Nollywood film, so far.
Thank you for your time Mr Emelonye. I wish you the very best.
(c) Ifee Kate Chukwu September 2010
