Internationally acclaimed film-maker, avid reader and
seasoned cinematographer, Tunde Kelani, is a pace-setter and legend of
some sort. With over 16 movies under his belt, he started as a
photographer but cut his teeth as a cameraman and, since then, has never
looked back. Having a knack for promoting his cultural beliefs, Kelani
started his own production company Mainframe in 1992. Since then, he has
become a beacon for movie makers in the continent and beyond.
How did you begin your career as a film-maker?
It all started out of a love for reading, then my interest in
photography grew. This led me to become an apprentice photographer. From
photography, I developed huge interest in theatre, production and
film-making. That is how it all started.
Your movies are known, not only for their quality, but
for storylines that are relevant to our society, often incorporating
core beliefs of the Yoruba people – Magun is a good example. Is this a
direct reflection of your style as a film-maker?
Yes it is. I use the Yoruba language and culture for a global view,
so I can authoritatively say that I have identified the importance of
literature in cinema.
Tell us about your new movie, Dazzling Mirage?
It is a love story themed on sickle cell. The principal character
lives with the sickle cell disorder, but despite the usual pessimism
about her condition, she overcomes social stigma, prejudice and low
self-esteem to achieve the three things she considered to be of
uttermost importance; a good education, career success and family. How
did she achieve these? That’s the main purpose of the film. It is set
for release in April 2014.
You are credited with discovering talents such as Kunle Afolayan and Kafilat Adedipe, amongst others…
(cuts in) One of the exciting factors of film-making is the
collaboration part. These collaborations may, sometimes, be literary,
personal or even technical. Usually, people involved are smart enough.
First of all, these actors have talent and we have developed the talent
through collaboration. Usually, I don’t take credit for discovering
them; they are already talented. Besides, you have to determine the
quality and standard of your routine, as these people have set a
standard and level for themselves. They choose what they want to do, not
anything thrown at them.
Your use of mainstream Yoruba thespians in English-speaking roles is legendary. How do you achieve this?
It is important to note that these actors and actresses are versatile
people. When the idea for the movie comes up, we think about the
character in the story. Our main interest is the story and that
determines who will play the role. It is not necessarily because of
their ‘popularity’; rather, it is all about their versatility and the
broad experience they can tap into to interpret the roles given to them
better.
How do you come up with your various stories, what inspires you and how do you handle book adaptations?
I read! I read a lot. I’ve been reading since my primary school days
and I still do. In fact, I just finished reading Americana by Chimamanda
Ngozi Adichie and before that it was a book written by Tony Allen. It
is all about reading. Some of my movies are book adaptations. I have
done adaptations as much as any other African film-maker if not more. It
is very interesting when you take the original works of others and
interpret it, like Maami (a book of the same title written by Femi
Osofisan). The end of the book cannot be the same with that of the film,
but we have to write some things into the story and develop it just for
the film. It is interesting when you work with a writer and he sees his
work in another medium, with a different interpretation.
Funke Akindele’s role in Maami is different from other roles she has played in the past. What made you cast her for that role?
I’ve been following Akindele’s progress as an actress and I knew it
was time for us to work together. Also, I knew she was the best person
at that time to play the role. Using Nigeria as an example, some of us
have passed through the ‘Maami Experience,’ though some might not have
been as drastic as others.
Each new movie you produce is seemingly better than the last. What drives you to do more?
It is a natural process and everything I have made, so far, has been
good. But I am getting to a stage where I can do greater works. I have
had a long period of gestation and I have everything, except funding.
Thank God we know have technology on our side. On the home-front, we can
never run out of resources, as we have a rich, great cultural heritage.
Pirates have long been considered a scourge in the
Nigerian film industry. What do you think can be done to curtail this
practice?
We have to look for solutions for the challenges facing the industry,
especially issues relating to infrastructure – there are no cinemas,
electricity and broadband Internet. There is also a problem with
physical distribution, because the pirates have destroyed everything and
there is no solution to the threat of piracy. So we have to continue to
look at other platforms, since there is no proper distribution channel
.We have to look for technological solutions and we are working on them.
As a film-maker who features ‘A- list’ actors and
actresses in your movies, you are bound to have ego clashes on set. How
do you manage your actors?
We usually don’t have ‘A-list’ actors. We just assemble people who we
feel are committed to what they are doing. There is no time for
distractions, because they are professionals.
How do you feel having Kunle Afolayan as your protégé?
I’m really proud of him; we are seen now as colleagues rather than
father and son. We are always excited whenever we are in each other’s
company. I wish we could have many more like him. Eventually, I will
have a film school but I need to concentrate on doing some more work.
You are considered a pioneer in your chosen filed
(film-making), especially Nigerian films. Do you think you deserve the
accolade?
No, I have mentors who are still alive; I cannot be a pioneer when my
creative uncles like Frances Oladele and Ola Balogun are still alive.
I’m just happy to have contributed something.
What are the challenges you’ve experienced as a Nigerian film-maker and how have you done to overcome them?
As an independent film-maker, you are working with serious handicaps;
you cannot make things happen where there is no electricity. You also
need people to watch your movies, but how will they watch when there are
limited cinemas in the country to show the movie? Also, business
opportunities and funding are not enough in the movie industry, as the
proper infrastructure is non-existent and this makes it difficult for
one to make profits.
Which works inspire you, locally and internationally?
All kinds of cinema productions inspire me, because I’ve studied all
kinds of cinema. I’m inspired by American, Japanese and Indian cinemas,
to name a few.
What else are you working on and what should your fans expect from you in future?
I am currently studying D.O Fagunwa’s books, with a view to adapt
some into movies. I’m also considering some Yoruba classics. I hope I
get to do a movie on Sango – it all depends on funding. Sango is a
mixture of myth and mystery. I could do something different from what is
already on ground. For example, I could focus on his personality. Was
he weak or was he strong? Was Oya his wife stronger? I could also focus
on the intricacies of their relationship. There are so many ways in
which the story can be captured.
What is your all-time favourite movie?
There are many of them. Space Odyssey (2001) and Lawrence of Arabia are some of them.
What do you enjoy, besides making movies?
I’ll say making more movies (as movie-making is my one-true joy).
What is your secret career wish if you could be anything but the ‘legendary’ Tunde Kelani?
I would definitely be in information technology.
If you had your pick of international actors to cast in one of your movies, who would be at the top of that list?
None, because I’ll be telling stories from my cultural experience and I don’t think they’ll be able to relate with that.
What do you like most and least about yourself?
I made a right choice of career, though I wish I could do more than I am presently doing.
Who is Tunde Kelani?
Tunde Kelani is Tunde Kelani… I’m just a human being, passionate and determined.
Source
The best way to treat an unwanted pregnancy to most girls is
to abort, but at times abortion is not always the best option, Only God
knows what will become of the child, Not many people are aware of the
fact that the most popular music director in Nigeria, Clarence Peters,
is Nollywood actress, Clarion Chukwura and Afro-juju legend ,Sir Shina
Peters, child. Clarion said she took care of Clarence on her own till he
became who he is today. In a recent chat with The Nation, she spoke of
her reasons for not aborting Clarence even though she had the
opportunity. Read excerpts below:
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