April 25, (THEWILL) – Notable film maker, Chineze Anyaene-Abonyi, who is best known for her groundbreaking movie, Ije: The Journey, speaks to Ivory Ukonu about issues bordering on film making and her time as pioneer head of Nigeria Oscar Selection Committee. Excerpts:
After producing 20 Years Later, you fizzled out of the movie scene. What happened?
Fizzled out!? That is untrue. As a filmmaker with an eye for sustainability, you have to think strategically. The Nigeria Official Selection Committee for the Academy Awards is a direct result of such thinking. Also, creatives come in two forms: conceptual and experimental. I consider myself a mix of both. From my experimental side, I like to throw myself into the process of creativity, using curiosity and my constructive contrarian skill to unearth projects which can take a longer time to fully emerge.
The short film didn’t quite catch on like your first effort, Ije: The Journey, which literally changed the perception of how movies should be made. What do you think could be responsible for this?
I believe every project is unique. It is a means of artistic expression and it is expected to trigger different reactions. Much more often, films with big casts tend to catch on more than those with relatively popular faces or without; it is an unconscious bias.
Ije: The Journey was a big deal when it made its debut because two of the biggest actresses in Nigeria, Genevieve Nnaji and Omotola Jalade-Ekeinde, appeared in it. It was rumoured that they were not in speaking terms with each other at that time. How did you manage to bring them together?
They are both professionals and I believe personal sentiments should be secondary in this line of work. I was not aware of any feud. Besides, my analysis of Ije: The Journey script suggested that they were the right cast for the film.
What was it like working with them?
They were professional and cordial
Would you like to work with them again in the nearest future?
Certainly, they are exceptional actors/filmmakers
Is it true that you are unable to make more movies because the production cost of Ije: The Journey depleted your resources?
Certainly not. Ije was capital intensive and I knew the total production cost early on, yet I proceeded with the production.
You are currently the chair of Nigeria Official Selection Committee (NOSC) for the Academy Awards. How did the journey to heading the committee begin?
It started in 2014. I was in LA, having thought about how Nigerians can showcase their creative ingenuity on an international stage. I leveraged my relational capital and scheduled a meeting with a representative of the Academy’s office. I had my questions and request ready and after a long discussion, I submitted a request for Nigeria Selection Committee to be set up and to participate in the then known ‘Best Foreign Film’ category. After their due diligence and procedure, the request was approved. I saw this as an opportunity to further project Nigeria to a critically acclaimed level of creative discourse.
Nigeria’s first movie entry to the Academy of Motion Picture Arts and Sciences Lion Heart was disqualified over English dialogue. While some blamed the committee for ignoring the rules, others felt it was a bias against Nigeria. What really was the reason?
At the time, pidgin as a non-English dialogue had not been approved by the Academy. Our first submission was an eye-opener and an opportunity for us to engage with the Academy on our peculiarity, which birthed the approval of pidgin as a non-English dialogue. The committee never ignored the rules of the Academy as it’s our standard operating procedure.
When was NOSC inaugurated and how has it been heading the body?
NOSC was inaugurated in 2012. It has been challenging and fulfilling. I guess the phrase ‘uneasy lies the head that wears the crown‘ couldn’t have been truer. Managing conflicting priorities and fitting into several schedules is tasking. I commend the committee members for their sacrifice of time. It wouldn’t have been possible without compromises and sacrifices.
How long is your tenure?
The timeline is set and reviewed by the Academy. At first it was five years one-off approval, now the approval is communicated annually.
How do you go about electing a successor?
It is open to filmmakers to indicate interest and submit to the Academy for approval. If it is approved, then that’s it.
What challenges has the committee dealt with since inception and how have you been able to overcome them?
Screening and selecting films that satisfies the eligibility rules has been the major challenge, particularly when many do not meet these requirements. We had proposed a training plan to educate filmmakers on the eligibility rules, this we have been able to do through platforms provided by our local festivals. Other challenges that are internal, controls have been put in place to resolve same.
In your honest opinion, do you think Nigerian movies qualify to win Oscars despite being selected and approved by the academy?
Why not, as long as they meet the requirements. The requirements are baseline devoid of prejudice for qualifying films to vie for the award. The South African motive Tsotsi won Best Foreign Language in 2006, a category now known as International Feature Film (IFF) which the NOSC submits films for.
What do you think film producers should do to upgrade their films?
Story and scripting has to be good. Sufficient effort has to be made. It cannot be overemphasized.
What are the factors limiting the production of good movies and how can this be addressed?
First, I think exposure is very important. This is also applicable to how producers can upgrade their motives. Creativity is stimulated with exposure. I believe filmmakers should attend film festivals and the likes to build relational capital. We also need to build relationships and productive synergies with guilds, film agencies and other government establishments, far removed from prejudice and ethnic affiliations. Funding is obviously a factor. Access to loans and interests rates is largely a factor. Access to grants and technical support would greatly support the industry.
Besides being a filmmaker and the head of NOSC, what else do you do?
Aside NOSC, I am an educationist and have been since 2013. I have been running a renowned, private school in Abuja. It is called Stella Maris School. It was established over 20 years ago with three major campuses and over 3000 pupils.
You have won quite a number of international awards. Which would you consider to be the most significant?
All are special to me, frankly.
By studying Theatre Arts, you obviously knew you would end up in the entertainment industry. What was it about your growing up that sealed your fate in it?
I have always had a penchant for conceptualising ideas and telling stories. Finding a means to express this penchant moved me to theatre arts.
What would you say must have significantly shaped you to be who you are today?
My background. Having a mix of an architect and an educationist as parents inculcated the attention-to-detail proclivities in me. I consider myself an ‘original’ and a constructive contrarian.
What would you consider to be your greatest achievement in life so far?
Life. Being alive is my greatest achievement
What drives you?
Improving the status quo and creating a new or improving on existing paradigm drives me.
How do you let off steam when you are not working?
Frankly, half the time when I am not working, I am thinking of innovative ways to improve processes. I love watching documentaries and researching.
About the Author
