Izu Ojukwu is a passionate filmmaker who has contributed immensely to the growth of the Nigerian film industry over the past twenty years. Ojukwu has produced more than 20 movies and still counting, including the renowned, Nigerian historical fiction drama film “76”, produced in 2014 and “Amina”, though shot in 2015, recently got 13 nominations and won four awards including The Best Overall Movie in Africa at the just concluded African Magic Viewers’ Choice Award. Ojukwu talks to Tosin Clegg about his early days in film making, innovations and a lot more
Growing up Jos
Igrew up in Jos, dreaming of becoming a Priest. I’m not sure whether I was attracted to the message or life of priesthood or just the attire. That was where I was tilting to until something happened that changed my trajectory and for some very strange reasons I didn’t make it to the seminary. Back in the 80s, life in Jos was beautiful, the weather was always very cold but sometimes during rainy season, if it doesn’t rain for a while the temperature would rise significantly. I come from a very big polygamous family, and most nights when the weather becomes too hot, we would have our dinner outside together as a family. So, I took advantage of that opportunity to entertain the family with folk tales told by my mum. Then at some point, I felt it would be nice to start dramatizing these stories. So I made masks of various animals represented in my folk tales and had my younger ones wear them and perform before the family. I tell them what to say; how to move and how to react to what was said. Now looking back in retrospect, I realised that what I was doing then for fun is exactly what I’m getting paid to do now for a living. In 1988, I used to frequent the cinema house and eventually became friends with the cinema operator as I used to run errands for him specifically New Era Cinema, Jos. Most times, I got the privilege of sitting in the control room with him and started understanding the workings of the projector. From the knowledge I garnered, I was able construct my own projector, though I couldn’t figure out the sound technology, so I beamed only the visuals to the big screen in my father’s garage. There, I would screen 11 min of 16mm Indian and Chinese cut out film reel and those days the kids in the neighbourhood would manage to get money then come to the garage to see moving images.
I didn’t know I would end up a film maker
1988 was the National Sports Festival in Jos and I was there for the games then I saw a camera man from a local television station (PRTV) and became his errand boy as I wanted to look into his lens all the time. So, before he would ask for anything I would reach out for it and figured out where to charge his batteries. So, everyday, I come back and look for him until the festival was over. I had little interest in the sports and then again I told myself I could recreate the camera which I started working on but the technology was more sophisticated for me. When I left Secondary school, I was privy to a 2week hands on workshop on various aspect of film making organised by some visiting white missionaries. I took advantage of that opportunity and I did a course in cinematography, that’s where I got my starting shots in the movie industry.
What makes a good movie?
For me, first is authenticity as the story must be authentic and must be relatable so people can connect. Your local audience is your primary, they are your first priority, they should be able to see themselves in your story to be able to connect. But while doing that, you do not forget the larger picture. Since film language is universal, a good movie is one that takes a local story and makes it appealing to a global audience. I do not make movies for awards, in fact it is wrong to approach a film with that mindset. As a film maker, I have a burden in my heart to address social issues as I have found my voice through my lenses. It is good to aspire for awards but when that becomes the motivating factor, there is the tendency that the film would miss the fair balance between art and commerce and may also not pick up any award. When a film maker is sincere with the interpretation of the story before him or her, awards will become inevitable.
Making the movie, Amina was an audacious step
It is worthy of note that African women have been in the fore front of civilisation and leadership in prehistoric times, hence the desire to capture the birth and rise of the powerful Queen Amina in this epic movie. Most times as Africans, we are conditioned to think that we are second class and cannot take initiatives unless it is handed down to us, but our history suggest otherwise. Amina was a warrior, Amina led men to battle but looking at the situation now I wonder ‘where did we get it wrong’. Movies like this help us remember who we are but making this epic movie comes with enormous challenges. From research to script, up-to principal photography consumes time and huge resources. For most of my works, the preferred post production studios have always been Europe and America due to the absence of world class post production studios in Nigeria. So I decided to join forces with a business partner to set up House of Illusion studios here in Lagos, a high end post production studio with the right partnership locally and internationally. The studio is designed to create a better working condition for our film makers. As a matter of fact, making Amina inspired our desire at House of Illusion to give out post production grants to five female film makers every year in order to encourage the already growing number of female film makers in Nollywood.
The character drives the casting
You must look for cast that fit the character you want to bring to life. By looking for characters, you are also mindful of actors with potential and at the same time commercial value because you want to remain in business and be able to make films that would attract audiences. So there is always a blend with upcoming actors as they would need the experience to be able to make it through..
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