Movies & TV | Zikoko! https://www.zikoko.com/category/movies-tv/ Come for the fun, stay for the culture! Sun, 16 Jun 2024 19:30:45 +0000 en-US hourly 1 https://wordpress.org/?v=6.6.2 https://www.zikoko.com/wp-content/uploads/zikoko/2020/04/cropped-Zikoko_Zikoko_Purple-Logo-1-150x150.jpg Movies & TV | Zikoko! https://www.zikoko.com/category/movies-tv/ 32 32 “House of the Dragon” Season 2: Dragons Return, But Where’s the Fire? https://www.zikoko.com/movies-tv/house-of-the-dragon-season-2-dragons-return-but-wheres-the-fire/ https://www.zikoko.com/movies-tv/house-of-the-dragon-season-2-dragons-return-but-wheres-the-fire/#respond Sun, 16 Jun 2024 13:35:39 +0000 https://www.zikoko.com/?p=328566 HBO’s “House of the Dragon,” the “Game of Thrones” spinoff, is back for a second season after a two-year break.

House of the Dragon is a captivating return to the complex and treacherous world of Westeros, a 200-year prequel to the acclaimed TV show, Game of Thrones. Adapted from George R.R. Martin’s “A Song of Ice and Fire” book series, this new installment dives deep into the history of House Targaryen, exploring the events that led to the infamous Targaryen civil war, known as the Dance of the Dragons.

Or simply put, this queen…

Queen Rhaenyra | Photograph by Theo Whitman/HBO

…versus this queen…

Dowager Queen Alicent | Photograph by Theo Whitman/HBO

…who, if you’ve watched the first season, is her ex-bestie turned late father, King Viserys’s second wife (long story).

It starts where season one left off, post-King Viserys’s death and Alicent’s mishearing of his final words to mean that her son, the overindulgent Aegon Targaryen, should rule after him instead of his first child and official heir, Rhaenyra.

But where season one was perhaps slow-paced, big on setting and character development up until after the king’s tragic death — ending with Rhaenyra’s second son’s untimely death at the hand of Alicent’s second son and his giant dragon — this season expectedly begins chaotically. 

With mourning, reprisal attacks after reprisal attacks, intricate politics, familial betrayals and epic battles, fans of the Game of Thrones universe finally get a taste of what they’ve come to expect — brutality. Expect dragons, battles, crazy misunderstandings and a bunch of petty guys causing avoidable complications. 

But also, expect a lot of waiting around for something… more to happen.

Photograph by Ollie Upton/HBO

It opens in Winterfell, on a trip to the Night’s Watch and a mention of “Winter is coming”, immediately throwing us deep into nostalgia and a promise that everything good about the original show is about to come back to us?

While the show has finally found its balance, there are still scenes where logic flies out the window, random twists without feeling and too many side plots that make it hard to care about the main battle for the Iron Throne.

At some point, we have to join Aegon to ask what’s up with the game of thrones? Are they going to fight the fight or not? However, the bratty new king, who thinks like most that being king is about doing whatever you want, is hardly a worthy contender. 

King Aegon | Photograph by Ollie Upton/HBO

At least, not without support from his mum, granddad (and “hand to the king”) Otto Hightower, and crazy brother, Aemond. Even then, Aegon gives us nothing to particularly hate, fear, love or all of the above, like Joffrey, Cersei or Daenerys of the original. 

On the other side is Rhaenyra, backed by her own crazy husband/uncle Daemon, her in-laws/cousins the Velaryons, and her kids who everyone knows are illegitimate. She, at least, gives us something akin to an uninspiring Daenerys-lite. Perhaps it is unfair then to even compare this spinoff to the OG show.

It’s “green” versus “black”. Green for Aegon and Alicent; black for Rhaenyra and Daemon.

There are tons of other characters you might not remember, and the show doesn’t care to reintroduce them. In fact, fans may need a quick recap of the last season to even remember some plots and players, and why they matter. New silver-haired little children spring up, and no one really seems to know whose they are. 

Everyone’s angry, constantly about to fight a dumb war. 

Photograph by Ollie Upton/HBO

The first four of eight episodes were made available to critics like us for review, and from what we can tell — without obviously spoiling anything — the mix of stunning cinematography, meticulous production design and grandeur of the Targaryen dynasty through magnificent sets and costumes gives way to a show that’s okay, and sometimes, good. 

The lead actors’ talents feel wasted, left to do their best with often hair-pulling dialogue and threadbare plot. 

Matt Smith’s Daemon still doesn’t know who he is. Is he blood hungrily soulless like the show tries hard to portray or is he devotedly loyal to Rhaenyra? While the constant dichotomy is familiar ground for this universe where two-faced (or no-faced?) characters are the order of the day, this time, it feels most like the show itself is altogether unsure. 

Rhaenyra x Daemon standoff | Photograph by Ollie Upton/HBO

Is Emma D’Arcy’s Rhaenyra to be a strong, capable queen or is she just going with the flow? Does Olivia Cooke’s Alicent actually know what the hell she’s doing? The only sure thing is Fabien Frankel as Ser Criston Cole with his faux-clueless look of steadfast hypocrisy as he righteous-indignantly blusters through the plot. Does he love being a fuck-boy for queens or not?

Also, the plot twists need too much disbelief to work. Some things are too easy and some things are too complicated. Too much potential is lost in boring decisions and lackluster performances that appear to have no end result.

Rhaenyra x Daemon standoff part two | Photograph by Ollie Upton/HBO

Except of course, if the end is to build our impatience for some real action to a fevered pitch that would be satisfied by the latter half of the season. 

But don’t let that deter you — there’s still plenty to love. As the green versus black conflict heats up, it’s clear that the Targaryen civil war is just getting started. So, grab your popcorn and get ready for a wild ride. Because if there’s one thing this season guarantees, it’s that the dance of dragons is far from over, and the best (and most brutal) is yet to come.

Photograph by Courtesy of HBO

Soft plantain for anyone who can name the dragon above.

Season two of HOUSE OF THE DRAGON debuts today, June 16 (9:00 – 10:00 p.m. ET/PT) on HBO and will be available to stream on Max. The eight-episode season will continue with one new episode weekly through August 4.

THIS IS ACCURATE: The Most Annoying Characters on “House of the Dragon”, Ranked

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All the Real-Life Situations Where “Bridgerton” Quotes Come in Handy https://www.zikoko.com/movies-tv/all-the-real-life-situations-where-bridgerton-quotes-come-in-handy/ https://www.zikoko.com/movies-tv/all-the-real-life-situations-where-bridgerton-quotes-come-in-handy/#respond Thu, 16 May 2024 09:26:00 +0000 https://www.zikoko.com/?p=303982 The Bridgerton series has iconic quotes for days. From “It is you I cannot sacrifice” to “If all we have is half, then we shall make it the very best half”, they sound beautiful, but can you use them in real life?

Yes, you absolutely can.

“Sorrows. Sorrows. Prayers” — Queen Charlotte 

Situation: When the friend you’ve been warning to break up with their cheating boyfriend finally chops breakfast, and you still have to comfort them. It must be followed with a gentle pat and slight stroke on the back, while your face expresses the “I told you so”.

“You do not know me, and rest assured, you never shall” — Lady Whistledown 

Situation: When a family member you haven’t seen since you were in primary school sees you in public and starts acting overly familiar. A quick step back and side eye to go with these words, and they should get the message.

“You have no idea what it is to be a woman” — Daphne Bridgerton

Situation: When you tell a man you don’t want children, and he tries to mansplain how children are a gift from God, and your life’s purpose won’t be fulfilled if you don’t give birth.

“I burn for you” — Daphne Bridgerton 

Situation: You’re plantain, and the person frying you turns away for a second.

“To meet a beautiful woman is one thing, but to meet your best friend in the most beautiful of women is something entirely apart” — Simon Basset

Situation: You’re a man living in Lagos and you met a woman five seconds ago. You know she can smell your lies, but that has never stopped you.

“Be it shame or slander, seduction or smear, there is but one thing that humbles even the most highly-regarded members of our dear ton… a scandal” — Lady Whistledown 

Situation: When you told your younger sibling about the tattoo below your neck, and now, they want to cash it in for a favour. Imagine living with your biggest opp. Stand your ground sha; blackmail never ends.

“Her heart is no matter, as long as her hand remains free” — Queen Charlotte 

Situation: When you’re trying to explain to your friends why you can’t leave your crush alone, even though they’re in a serious relationship, and you know their partner can fight.

“We chose to love each other every single day. It is a choice, dearest. One that is never too late to make” — Violet Bridgerton 

Situation: When your son has cheated on your daughter-in-law more times than you can count, but you still don’t want her to leave.

Her response will probably be, “Sorrow. Sorrows. Prayers“ because she has love at home. And you’ll deserve it, dear.

“Just because something is not perfect, does not make it is any less worthy of love” — Daphne Bridgerton  

Situation: After your tailor has sewed rubbish with your ₦10k per yard material, and they’re trying to make you understand that every mistake is a blessing in disguise. 

“I take issue with any man who views women merely as chattel and breeding stock” — Kate Sharma

Situation: When you have to write a Twitter bio so everyone knows you’re a feminist.

“No, she just wears her hair too tight” — Penelope Featherington

Situation: When your hairstylist is trying to explain why you’re balding after they’ve used all your front hair to do pick and drop for the third time.

“Dearest Gentle Reader, did you miss me?” — Lady Whistledown  

Situation: When your mother sends a conspiracy theory the day after you begged her and she promised to stop.

“You are the bane of my existence and the object of all my desires. Night and day, I dream of you” — Lord Anthony 

Situation: When Nigerians think of money, like during that cash scarcity period.

“Ah. Spoken with such feeling too” — Benedict Bridgerton

Situation: When you just confessed love to the person that’s been stringing you along for months but controls your mumu button. 

“Yes, that is why I thought of it” — Queen Charlotte after Brimsley hinted they follow Lady Whistledown

Situation: When your boss sees the work you’ve been slaving over is actually good and decides to take credit for it. 

“I know I am imperfect. But I will humble myself before you because I cannot imagine my life without you, and that is why I wish to marry you” — Lord Anthony 

Situation: When you’ve stained your partner’s white beyond repair, but you still want them to marry you.

“I look like a prized calf trussed up for auction” — Eloise Bridegerton

Situation: When your mother thinks you’re now of marriageable age so she carries you to every owambe just so she can introduce you to her friends’ single children.

“I did not ask for this. To be plagued by these feelings” — Kate Sharma

Situation: When you can’t stop thinking about them, and it’s beginning to feel like love.

“Please, speak freely. No one else does” — Young Queen Charlotte 

Situation: When your parents make you feel like they’re a safe space, so you speak freely, and end up with a smack on your mouth for speaking too freely.

“I’m very good with buttons” — Young King George  

Situation: The tailors on the street advertising their services.

“They dangle joy in front of me and never let me grasp it” — Lord Danbury 

Situation: When you’re the vice president of a country with a very sick president.

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What to Expect as Idris Elba, Mo Abudu Wrap up the Filming on “Dust to Dream” https://www.zikoko.com/pop/what-to-expect-as-idris-elba-mo-abudu-wrap-up-the-filming-on-dust-to-dream/ https://www.zikoko.com/pop/what-to-expect-as-idris-elba-mo-abudu-wrap-up-the-filming-on-dust-to-dream/#respond Mon, 15 Apr 2024 16:11:17 +0000 https://www.zikoko.com/?p=325708 In March 2024, film executive, Mo Abudu, announced a collaboration with Hollywood actor, Idris Elba, which would see him take the director’s chair on her short film project, Dust To Dream.

What to Expect as Idris Elba, Mo Abudu Wrap up the Filming on “Dust to Dream”

Weeks after the announcement, filming has wrapped on the project, and here’s what we know so far.

The plot

Dust To Dreams follows the relationship between a mother and her teenage daughter, and how they navigate her first encounter with her father. The father, a long-lost soldier must confront new realities as he reunites with his family after a long time away from home. 

The Cast

Directed by Idris-Elba, the project features performances from some of Nollywood’s finest actors.

Nse Nkpe Etim

What to Expect as Idris Elba, Mo Abudu Wrap up the Filming on “Dust to Dream”

She plays Milli, a Lagos nightclub owner.

Seal

The British-Nigerian musician plays a soldier.

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Eku Edewor

What to Expect as Idris Elba, Mo Abudu Wrap up the Filming on “Dust to Dream”

She plays Comfort, Milli’s (Nse Nkpe Etim) sister.

Atlanta Bridget Johnson

She plays Patience, Milli’s (Nse Nkpe Etim) sister.

Constance Olatunde

The former Nigerian Idol contestant plays Bisola, Milli’s (Nse Nkpe Etim) daughter.

Behind-the-scenes

Some of the actors have shared BTS photos, giving fans a glimpse into their characters and what to expect when the film is released. The BTS stills also indicate the film was shot in parts of Lagos Island and the mainland.

When and where will it be released?

There’s no word about the project’s potential release date or if it will be available on a streaming platform. However, if it’s anything like Abudu’s previous short films, My Perfect Life and Iyawo Mi, it should enjoy cinema festival runs. 

READ NEXT: I Watched The Movie, “Breath of Life” So You Don’t Have To

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Disney Animation and Africa’s Kugali Media Combine for “Iwájú” https://www.zikoko.com/pop/disney-animation-and-africas-kugali-media-combine-for-iwaju/ https://www.zikoko.com/pop/disney-animation-and-africas-kugali-media-combine-for-iwaju/#respond Tue, 23 Jan 2024 14:49:46 +0000 https://www.zikoko.com/?p=321005 As Africa slowly enters the global comics and animation conversation, it adds another major win in Iwájú, an animation series produced by Kugali Media in partnership with Disney.

Kugali Media’s Iwájú is one of the projects the Walt Disney Company announced on its Investor Day in 2020. Yup, you probably didn’t know about that. But there’s more to know about this coming animated series.

What’s Kugali?

The company started as Tao of Otaku, in 2015 as a podcast. Two years later, it morphed into Kugali (Swahili for “to care”), a website and YouTube channel with arts, gaming, comics and animation content. In 2018, the co-founders Hamid Ibrahim, Tolu Olowofoyeku and Olufikayo “Ziki Nelson” Adeola narrowed its focus to producing African comics and animations. Kugali has since produced original comics like Iku, Oro and Mumu Juju and the latest Iwájú, an animated TV series co-produced by Disney Animation.

Facebook: Kugali

Kugali and Disney’s fateful meeting

All it took for Disney to notice what Kugali’ got was a brazen statement by Kugali’s co-founder Hamid Ibrahim (VFX artist on The Lion King) in a 2019 BBC interview. He said, “We’ll beat Disney’s ass.” Interestingly, Disney reached out to work with Kugali for Disney Plus. This relationship birthed the project initially set for release in 2022. But it took additional two years to come out due to release schedule changes.

What’s Iwájú about?

Iwájú is a Yorùbá word for front or forward. It’s an animated story about class and inequality. It focuses on two friends living in futuristic Lagos; Tola, a rich island babe, and poor, self-taught tech-guy Kole who lives in another part of Lagos (seems like the mainland) and their investigation into the dark sides of their two worlds.

Source: MovieWeb

Production

Iwájú is produced by Christian Chen of Disney Animation and written by Halima Hudson and Tolu Olowofoyeku. Nigerian composer Ré Olunga handled the film score. Kugali’s co-founders Ziki Nelson, Hamid Ibrahim and Tolu Olowofoyeku are also the film’s director, production designer and cultural consultant respectively.

Source: MovieWeb

Voices of Iwájú

Iwájú is voiced by Simisola Gbadamosi, Sinister Soetan, Femi Branch, Dayo Okeniyi (The Hunger Games and Emperor) and Weruche Opia (I May Destroy You, High Desert and Sliced). The cast was assembled by Nigerian actress Kemi “Lala” Akindoju.

L-R; Femi Branch, Weruche Opia and Dayo Okeniyi

Release date

Iwájú will debut in the U.S. on February 28, 2024 on Disney Plus. The release date for Nigeria and other select regions will be announced later. African and Nigerian stories finding a home on the global screen will always be a delight.

Source: MovieWeb

Iwájú: A Day Ahead

Iwájú: A Day Ahead is a special documentary about the series development and production process, and it’ll also come out the same day the series debuts. It’s produced by Walt Disney Animation and ABC News Studios.

Are You Familiar with The Best African Animations of 2023?

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“A Tribe Called Judah” Filmmaker Speaks on Family, Influences and Challenges https://www.zikoko.com/pop/a-tribe-called-judah-filmmaker-speaks-on-family/ https://www.zikoko.com/pop/a-tribe-called-judah-filmmaker-speaks-on-family/#respond Mon, 15 Jan 2024 16:18:08 +0000 https://www.zikoko.com/?p=320481
Source: Barny

Funke Akindele’s latest production, A Tribe Called Judah (ATCJ), is Nollywood’s highest-grossing film of all time, but it’s also earned applause for its home-hitting storytelling and excellent cinematography. Its filmmaker and cinematographer, Barnabas Emordi, AKA Barny Blockbuster, is known for his camera work on other acclaimed productions like Ada Omo Daddy (2023), The Ghost and the Tout Too (2021) and Elevator Baby (2019).

In a chat with Zikoko, Barny shares his experience on the set of ATCJ, the importance of visual styles in film and his personal challenges in Nollywood.

How did you join the A Tribe Called Judah crew?

Barny: Aunty Funke (Funke Akindele) and film director, Adeoluwa Owu, brought me in during the script development in April 2023 before we went into preparation for shooting. When I read the script’s first draft, I saw the possibility of a big picture. This film has all the right attributes that drive the Nigerian audience to the cinema, like family and love. I and the entire team believed it would be a banger, but it exceeded expectations. 

What intrigued you about the story?

Barny: Family. I think stories that pull families together are my speciality. In Elevator Baby, Day of Destiny and MTV Shuga Naija 5, the characters are uniquely complicated. A clear example is Pere Judah in A Tribe Called Judah. He’s one of his mum’s favourites, but he’s influenced by the environment he grew up in, his family and various complexities that have made him unique. He can still be called a good person who makes the ultimate sacrifice by stealing to save his mum’s life.

Many moving parts in the characters’ lives make them endearing to the audience, even if they aren’t perfect. That’s the beauty of humans — recognising our differences and coming together as a family or country to battle against whatever the world brings us. No matter how different the troublesome sons in A Tribe Called Judah are, there’s one consistent thing about them: they genuinely love each other, and they love their mother. They’re also united as a family, which is the core of the entire film.

What’s your favourite thing about the film?

Barny: I enjoyed being on set; it was beautiful to watch Funke Akindele at work. The details and intensity she puts into her work are motivating. I loved that and the dedication of the crew too. I had the tools I needed — I could bring out my visual style and execute properly.

How would you explain “visual style”?

Barny: Visual style is the element that builds the world in a film. Stories are different, and so are their visual styles. Visual style elevates the storytelling and the audience’s emotional attachment to the character. If all the elements and subtle techniques come together right, I’ve done my part as a cinematographer.

For A Tribe Called Judah, we aimed for realism. The visual style was to capture the essence of family, love and sacrifice. We employed lighting techniques that felt natural for various scenes. We used different cameras, like Arri Alexa 35 and Canon Sumire Primes, to make the audience emotionally attach to the Judah family.

What draws you to familial stories?

Barny: I genuinely love family. My family is fantastic; they love, support and care about every aspect of my life. They are my biggest supporters. I’ve also made incredible friends who are now family. They love wholeheartedly. I love films that preach family values, love, togetherness and sacrifice. Also, we practise communal living in Nigeria, and the family unit is the most important social institution in the world.

How do you balance creative independence with working with others?

Barny: The most important thing is understanding the overall vision for a project and knowing you’re a vital tool in bringing that vision to life. Filmmaking is a collaborative process. I know my work, but I fully understand that I’m a part of the team. This makes it easier to collaborate with other individuals.

As Barny Blockbuster, what would you say makes a blockbuster?

Barny: In the Nigerian context, a blockbuster is a film that makes over ₦100 million at the box office. It comes with joy that I’ve done this with Elevator Baby and Ada Omo Daddy, and now, A Tribe of Judah.

Image source: Barny

What was life like for you before Nollywood?

Barny: I was in school. I graduated from Delta State University with a degree in Mathematics in 2015. Before NYSC, I wanted to get busy with something meaningful. I reached out to my friend, Gbenga Gomez, a cinematographer and steady-cam operator who was already in the industry at that time, to let me follow him around and help with anything on set. During that period, I fell deeply in love with filmmaking. 

Some people have deep meanings behind their love of filmmaking. For me, I’ve always loved watching movies, Nigerian or foreign. From the VHS to the DVD era, I watched all I could get my hands on. But the stronger pull was the money I thought I could make. My early days as an assistant on movie sets gave me a tangible amount of money that kept me going. I felt that if I worked hard and stayed committed to the art, it would lead me to success in the future. That motivation deepened my love for filmmaking.

What’s the first film you made?

Barny: It was with my friends. We used to do random jobs on film sets and put money together to make short films in our neighbourhood. It contributed significantly to our learning process, and we could trust each other to become better filmmakers and storytellers. But my first feature film as a camera operator is Elevator Baby.

Source: @barnyee

Which of your films was hard to make?

Barny: Man, every film is hard to make in Nigeria. Ask other Nollywood filmmakers, and they’ll tell you the same thing. Something always comes up, like disturbances from touts, inadequate daylight to film and low budget. Budget is the biggest issue; a budget needs to be in place right from the film development stage. When the audience complains about weak plot in Nollywood movies, I think about this.

Imagine there’s no money to pay story developers. When they should be in the writing room for months, they can end up spending only a week in the writing room. That’s a problem. An inadequate budget will make a production that should take months to wrap up in weeks. 

But the beauty of these problems is that we explore all our resources and creativity to deliver an excellent production. Nollywood still competes internationally; our stories are screened at international festivals and receive notable awards. Prominent brands are coming to Nigeria to collaborate with us because our genuine love for the art is evident to them.

Do these brands come with bigger budgets that have improved production quality?

Barny: The bigger brands are playing their role. Production quality has improved massively over the past few years, and money has been an important factor. Our scripts and productions are getting bigger. I’m genuinely excited about the next few years in Nollywood because there’s a certain level of excellence that’s notable. We’re already working on amazing stories that’ll excite the audience and strengthen the industry. It can only get better.

What’s a good budget for a movie?

Barny: It largely depends on the scale of the film you’re trying to make. Averagely ₦100-200 million for a mid-size film in Nigeria. It can go up to a million-dollar budget for a film like The Black Book. Budgets are determined by so many factors. It’s always tricky to call a number because you’ll need to factor in marketing and so many other aspects.

Are there emerging trends in cinematography you’re excited to explore?

Barny: I’ve been quite excited about the new sets of Arri lighting technology recently introduced to the market. It would help us to expand our lighting arsenal, expose us to various effects that’ll influence and stylise the way we approach lighting design in Nollywood. It’s pretty easy to operate as well, has the best colour rendering index (CRI), large range of lights, minimal power for maximum output and efficiency. It’s an outstanding development.

What challenges do you face in your work?

Barny: My biggest challenge is finding time to schedule all the projects I’ve set out to work on to avoid clashes. There’s always little time between finishing up a project, sitting down to study a new script, breaking it down in your head, and then, having a conversation with the producers or directors of the film to understand their vision. Filmmaking takes time, and one needs to prep and put things together so that execution can be great. That’s my primary challenge at the moment.

Seems like you’re suffering from success

Barny: I can’t complain. When things are like this, it also speaks to my efficiency and capacity to do great work, and that makes me bankable. Producers trust me to use their money well and deliver, and I have to live up to their expectation.

Does the volume of your output bother you?

Barny: I freelance, and that makes me open to working with all the biggest production companies in Nigeria. If one is consistent with executing big projects at high levels, it’ll attract more clients to you. That’s been my case, and so far, I like it.

What’s the difference between working freelance or non-freelance as a cinematographer?

Barny: If I wasn’t working freelance, I’d be stuck working with one production company for the duration I signed in a contract. Production companies may not produce more than one or two films in a year due to development and preparation time. Freelancing lets me take on as many jobs as possible. It gives me the freedom to execute projects that align with what I’m trying to achieve in the industry.


Hey you. Yes, you. Before you leave, help us to answer these 6 Questions We Have About A Tribe Called Judah?

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“Hanky Panky” Was a Passion Project — Daniel Orubo Wants to Tell Rich and Positive Queer Stories https://www.zikoko.com/pop/hanky-panky-daniel/ https://www.zikoko.com/pop/hanky-panky-daniel/#respond Wed, 03 Jan 2024 18:14:19 +0000 https://www.zikoko.com/?p=319686 In December 2022, Daniel Orubo, content marketer, strategist and Head of Content at Piggyvest, wrapped up his animated short, Hanky Panky. A month later, he submitted the independent wuruwuru-produced project to the New York Animation Film Awards. By September 2023, Daniel’s film had appeared on the festival’s nomination list for Best Animation Short Film, eventually emerging as a semi-finalist.

Daniel shares how a heated conversation inspired Hanky Panky, the power of storytelling and rich queer stories. He also cites his influences and what comes next for him.

How does it feel to be recognised for your first short film?

I was shocked to be a semi-finalist at the New York Animation Film Awards. But it felt validating. I’ve always cared about being good, not just “good for a first-timer” or “good for a Nigerian”. I want anybody anywhere to recognise the quality of my work. 

I’ve done some editing to tighten up scripts for friends in the past, but with Hanky Panky, I got to decide what I wanted — from the look of the characters to the score — and it was fun. Although it didn’t win the award, it got that far, and for my first film, I’m very proud of that.

What’s Hanky Panky about?

It’s about a phone call between an aunt and the niece she suspects is a lesbian. 

It’s based on a conversation that happened while my friends were hanging out. They’d had a joint birthday party the night before, where they danced together like friends do. The next day, an aunt called one of them with “What was that?” and “What’s going on with you two?” questions. The conversation stuck with my friend, Opemipo Aikomo (producer and co-director of Hanky Panky), who was in a car with them when it happened. He told me the story and the idea to turn it into a film.

The friends whose story inspired Hanky Panky aren’t queer. What matters about this storyline is how the mere perception of queerness was enough to generate such animosity. But in my storytelling, I don’t feel the need to spell everything out for the audience. I allow them to decide what they want the story to represent. 

How did the story come to life?

At the time, Ope wanted to make an animated film and just needed a story. He really loves animation and wants to see more Nigerian stories expressed through the medium. So he took it upon himself to make this film and document the process.

For me, I’ve always wanted to direct a short film, but when he sold it to me to direct, I wanted to refuse. I consider animation one of the highest levels of art, and I didn’t think I could pull it off on my first try. I was scared, but I trusted myself because Opemipo, who has excellent taste, trusted in my ability to do it. I did a lot of studying. Jessica A., our excellent scriptwriter, worked with what Opemipo recollected of the story, and I did some script editing.

We took some creative liberties. The real event didn’t happen in a traffic jam or at Falomo. Those were added to make the film feel very “Lagos” and Nigerian. Osas, the main character, went from vibing to Odunsi to being angry and stuck in unending traffic. That felt very Lagos to me.

The dance scene stood out

In my head, their dancing wasn’t nearly as provocative as the aunty described, but that was what she saw. That’s why the scene feels almost otherworldly. 

In my experience, when Nigerian adults see something they disagree with, their minds don’t see reality. When they see an earring on a young guy’s ear, it quickly escalates to “you must have joined bad gang”. I wanted to capture that tendency to exaggerate.

Is Hanky Panky anything like what you expected of your first work?

For one, I always knew my first work would be a queer story. The initial plan was a live-action short about a guy discovering his sexuality. But Opemipo’s enthusiasm sold Hanky Panky to me. I found the story exciting, and I thought making an animation would be cool.

How long did production take?

I started working on the character profiles in December 2020. That took two days. 

We began filming in 2021. The whole production took two years to complete because we were obsessed with nailing details like the sound of traffic and the music they’d be listening to. There were periods when nothing happened because we had to juggle our day jobs. We’d never done it before, so we were all learning on the job.

And it wasn’t cheap or easy. Opemipo, the producer, put money into getting it made. We had to pay to get the rights to use Odunsi’s Wetin Dey, for example. Our music director, Osarumen Osamuyi, AKA Skweird, facilitated the process. We met the payment requirement, and it was approved.

How much does filmmaking mean to you?

It means the world. I have a deep love for storytelling in films. 

One of the most significant examples of how important storytelling is to me is how my parents unlearnt homophobia because of Mitch and Cam in Modern Family. They watched it without me, and suddenly, gay marriage was normal to them. 

Storytelling is powerful. I had a similar experience as the creator of Zikoko’s Sex Life — a written series. A married woman DMd me on X that reading Sex Life made her realise she was queer. She saw herself in someone else’s story that I’d written for the series. She realised it was too similar to hers, and it made her think about things she’d never considered. She eventually left her husband. That’s how powerful stories can be.

I want to make a Nigerian TV series that follows young people in Lagos — think of a show like Insecure. Lagos is an exciting place, and Lagosians are the most interesting people on earth. I’d love to work on that.

What’s the most important aspect of storytelling in your opinion?

I’m huge on realism and believable dialogue. Nothing throws me off more than hearing someone in movies or books say things I’ve never heard anyone say in real life. 

So whenever my friends say something clever, funny or exciting, I write it down in my notes. I’m like, I’ll use this in something someday because it’s just so great. Whenever I read a script, I do it out loud to hear how it sounds to the ear, not just in my head. “Does this sound real?” “Does this sound believable?” I always strive for realism. 

I also want to be entertaining. It doesn’t need to be the world exploding. Sometimes, just watching somebody go through something stressful can be entertaining — like Squid Game. I think it was popular for that reason. Even the spin-off game show is a hit.

Who are your filmmaking influences?

I like filmmakers with distinct styles. I like Barry Jenkins. He has only two films out, but they’ve been impactful. I like Denis Villeneuve too — Arrival is my shit. Georgios “Yorgos” Lanthimos is also an influence; he’s a weird and interesting filmmaker.  I look for weird and interesting films, and if I really like them, I look out for the director and watch all their work. That’s how I got into these three.

Did you ever attend a film school?

Daniel: No, not yet. It’s expensive. I actually picked up content writing to save up for film school. My friends have encouraged me to keep learning independently and do what I can before film school falls into place.

I agree with them because I wanted to find my voice first. Working on Hanky Panky has made me recognise my passion for telling relatable queer stories. Now, I’m ready to attend a film school with some experience.

How would you describe your style

I’m not sure I’ve fully formed a style yet, but I’m drawn to telling queer stories, real queer stories. Besides Hanky Panky, I’ve produced Feel Good, a written anthology of happy queer stories available online. Schitt’s Creek inspired it. There’s a queer couple in it, and they’re one of my favourite fictional couples because they’re so happy and healthy from start to finish. The other shoe never dropped; I’m not used to that.

But at the same time, only showing the positive side isn’t rich enough. It doesn’t give you the whole story. In Hanky Panky, we showed that moving into the world as a queer (or queer-presenting) person also comes with unnecessary stress.

Will you ever make a film out of “Feel Good”?

A lot of people are already saying they need more. That’s validation, and if a studio wants to help us fund a film adaptation, who are we to say no? 

We did Hanky Panky on our own and put it on YouTube. It’s a passion project. We didn’t sell it to any production house. Opemipo’s independent studio, wuruwuru, made it happen. Making another film requires an adequate budget.

So, as a burgeoning Nollywood guy, what was your favourite Nollywood production of 2023?

Breath of Life

I don’t watch many Nollywood films where a very internal or deep emotion drives the story. Breath of Life gave me that. As much as I love spectacle, a good human drama will always do it for me.

What’s next for you?

I’m still trying to gauge how Hanky Panky performs. If there’s an opportunity, I want it, but I also try to be realistic. I want to see what I can do career-wise, maybe make some money to continue making passion projects. I’m leaning more towards making more money as a content strategist.

Your content writing career is just to raise money for your future films?

Everybody needs money. But I’ve never done a job I wasn’t passionate about. Being a multi-disciplinary creative has allowed me to try my hands at writing, content creation, content marketing and more. I’ll never see it as only raising money.


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You Don’t Have to Like K-Dramas to Love These 12 Korean Films https://www.zikoko.com/pop/you-dont-have-to-like-k-dramas-to-love-these-12-korean-films/ https://www.zikoko.com/pop/you-dont-have-to-like-k-dramas-to-love-these-12-korean-films/#respond Mon, 26 Jun 2023 12:58:17 +0000 https://www.zikoko.com/?p=309434 There are two types of people in the world, people who like Korean TV shows, aka K-Drama, and people like me who could care less. No, I haven’t seen Alchemy of Souls or Crash Landing on You, but that won’t stop me from admitting that Korean films are the best inventions since the first caveman decided to fry plantain. 

Korean cinema has been delivering insane content long before and after 2019’s Parasite became a cultural phenomenon. If you’ve seen Parasite, and you’re looking for more Korean content to satisfy your craving, this list is for you. But if you’ve not seen any Korean films at all, then omo, I curated this list especially for you. 

Burning, 2018

If there’s one film that captures the term slow burn to a “T”, it’s Burning. Featuring Steve Yeun, who you might recognise from Jordan Peele’s Nope or the Netflix road rage series, Beef, this unpredictable thriller starts simple but descends into chaos as it spirals towards its end. After all, what could go wrong in a story about a man, his childhood friend who asks him to look after her cat while she’s away, and the mysterious man she comes back with? Basic, right? 

Mother, 2009

Few films have been able to stress me out the way Mother did. Mother is one of those films that stays with you long after the end credits hit the screen. The murder mystery places a single mother at the centre of its story as she embarks on a mission to clear her mentally ill son’s name after he’s accused of killing a young schoolgirl. Let me say that nothing, I repeat, nothing will prepare you for the final scene. Good luck, though. 

The Handmaiden, 2016

The Handmaiden is a masterclass in delivering twist after twist and turning a story on its head countless times. When you think you know where the film is going, this iconic queer thriller throws another wrench that leaves your jaw on the floor. The Handmaiden follows the relationship between a wealthy-ass Japanese heiress, the handmaiden hired to look after her, the con man who hired the handmaiden to help scam the heiress and lots of steamy sex. The Handmaiden is one Korean film I wouldn’t advise you to watch with your family, dear. 

Memories of Murder, 2003

Not to sound biased, but Memories of Murder is the greatest Korean murder mystery of all time, up there with David Fincher’s Se7en as one of the GOATs, period. Memories of Murder tells the story of a pair of local police officers whose lives are changed by a serial killer who targets young women and the big city investigator who comes to their village to help solve the case. Disturbing, hilarious and heartbreaking all at the same time, the film is allegedly based on a true story, making it even more unsettling. 

Train to Busan, 2016

Zombie apocalypse films have been done so many times (Resident Evil one to 100) that they don’t slap anymore. The characters don’t feel human, so just like the zombies, we start viewing them as disposable slabs of meat. Train to Busan, however, makes its audience connect and root for the humans as we follow a divorced dad, his daughter and several other colourful characters who try to survive a zombie attack on a moving train. It didn’t help that I watched this movie in 2020, right before the coronavirus gist started spreading. 

Parasite, 2019

Parasite is the most popular Korean film from the last decade, and for good reason. The first non-English film to win Best Picture at the Oscars in 2020, Parasite is a dark comedy that explores class differences through the eyes of two families, one rich and the other poor. A major achievement in filmmaking, Parasite will leave you all up in your feelings as you watch that “eat the rich” saying come to life right before you. 

RECOMMENDATIONS: Everybody Likes Lee Min Ho, but in 2022? Come On

The Wailing, 2016

Let me start by saying The Wailing is long and confusing AF. I’ve seen it twice, and honestly, I’m not sure I get the whole gist. This is not to say that The Wailing is bad; it’s just hard to grasp fully, but best believe you’ll feel like you’ve seen a masterpiece when you’re done. The horror film follows a police officer who embarks on a race against time to save his daughter and his village from a mysterious sickness that turns its victims into unhinged demons. You know a horror film means business when a child is involved. 

Old Boy, 2003

Before Parasite became an international hit, Old Boy was arguably the biggest Korean film to hit the market in the early 2000s, inspiring a bland American remake with Elizabeth Olsen (of WandaVision). This intelligent and super violent thriller follows a man who, when freed from 15 years of confinement, is given five days to find and exact revenge on the people who stole over a decade of his life. 

The Host, 2006

Monster films like Godzilla, Jurassic Park and co, tend to be major blockbusters people love more for the grand scale of production and CGI than the actual story (if there’s any, to be honest). However, with The Host, we see a monster movie whose social commentary isn’t drowned out by green screen visuals or cool tricks. The horror film follows a man who must save his daughter after she’s snatched up by an S-shaped monster created from chemicals dumped into the Han River. 

Decision to Leave, 2022

If there’s one thing you’ll learn after watching Decision to Leave, it’s that sometimes, it’s good to mind the business that pays you and avoid trouble. This 2022 romantic thriller follows an insomniac detective who becomes infatuated with a widow suspected of killing her husband. Like, he heard she might be a murderer and still said, “Yes, baby. Off my pant.” In this life, fear men. 

Silenced, 2011

Based on the novel The Crucible by Gong Ji-young, and real-life events in a school in Korea, Silenced follows an art teacher who arrives at a school for hard-of-hearing children, only to discover that their teachers sexually and physically abuse the students. Silenced might be a hard watch, but it’s also a necessary one, as differently-abled people rarely get to have their stories told with such care and nuance. 

I Saw the Devil, 2010

In this bloody Korean thriller, an intelligence agent’s pregnant fianceé is brutally murdered by a psychopathic serial killer, forcing the agent to go rogue in a bid to ensure that the killer ends up suffering for an extended period of time, and not in prison. While I support letting the law take charge when it comes to crime, I also support the protagonist here. Like the popular Stanley Okorie song goes, “In this life, you reap what you sow.” 

You can find these films on Netflix, Amazon Prime Video or any streaming service you use.

ALSO READ: The Ultimate K-Pop Beginner Playlist From One K-Pop Newbie to Another

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Nollywood Next Gen: Meet the Actors Set to Take Over 2023 https://www.zikoko.com/pop/nollywood-next-gen-meet-the-actors-set-to-take-over-2023/ https://www.zikoko.com/pop/nollywood-next-gen-meet-the-actors-set-to-take-over-2023/#respond Thu, 22 Jun 2023 11:17:45 +0000 https://www.zikoko.com/?p=309138 There’s a new era of TV and movie stars in Nigeria, and we’re totally here for it. 

Nollywood has had multiple generations of stars and fans over the years. 1990s Nollywood introduced us to OGs like Saint Obi, Susan Patrick and Regina Askia. We fell in love with RMD, Genevieve Nnaji and Omotola Jalade Ekeinde in the early 2000s. We copied fashion trends from Ini Edo, Jim Iyke and Rita Dominic in the mid-2000s. And unlocked box office magic in the 2010s with the help of Adesua Etomi, Deyemi Okanlawon and Somkele Iyamah. 

Source: Premium Times
Source: EbonyLife Films

But with streaming and international projects quickly becoming the norm, a new crop of bankable stars is set to join the OGs. Read this list and learn their names because there’s a strong chance they’ll be on your screens for a long time. 

Tobi Bakre 

Source: Amazon Prime Video

If there’s one Big Brother alum who’s been able to beat the “can’t act” allegations, it’s Tobi Bakre. At a time when Nollywood struggled to find leading men capable of selling movies with their charisma and looks, Tobi came in and also decided to embark on the herculean task of carrying the industry’s action genre on his back. 

While films like Sugar Rush and Rattlesnake ignited that spark in Tobi’s audience, his deadly collaborations with Jade Osiberu in Brotherhood and Gangs of Lagos solidified his position as one of the biggest stars of our generation. 

Genoveva Umeh 

Source: Netflix

Genoveva Umeh was inescapable in 2022. Between a major standoff against Kate Henshaw in the EbonyLife Thelma and Louise-inspired thriller Blood Sisters and her shippable moments with Natse Jemide on Far From Home, Genoveva was lowkey the queen of streaming last year. 

With her current role on the new season of MTV Shuga and an appearance in the upcoming Amazon Prime original film, Breath of Life, opposite Wale Ojo and Eku Edewor, it looks like Genoveva will be around for a long time. But I don’t think anyone is complaining. 

Chimezie Imo

Source: Netflix

Chimezie Imo is one of the few actors Nollywood doesn’t deserve but desperately needs. Whether he’s playing a troubled or thrill-seeking teen in coming-of-age films like Nimbe and Kasala, or the lead in a psychological thriller like Choke, Chimezie always eats, proving that he’s criminally underrated and incredibly talented. 

With Chimezie, you never know what to expect. But that’s what you get from an actor whose range could either keep you at the edge of your seat or leave you in a puddle of tears. Look out for the actor in Breath of Life, Amazon Prime’s upcoming drama co-starring Genoveva Umeh and Wale Ojo. 

Uzoamaka Aniunoh 

Source: The Culture Mix

You might want to remember this name because this actress will have an incredible 2023 (and a long career, to be honest). After capturing our attention with her performance in shows like MTV Shuga and Africa Magic’s Venge, Uzoamaka has grown into one of Nollywood’s biggest rising stars, with a starring role on Showmax’s Diiche, the recent Domitilla reboot, Dika Ofoma’s upcoming short, A Quiet Monday, and Mami Wata, the CJ Obasi-directed fantasy drama

Outside of acting, Uzoamaka is also an acclaimed director, with her short film, Love Language, set to reach audiences in 2023. 

Demi Banwo 

Source: YouTube

Demi Banwo has probably been in every Nollywood project you’ve seen. From indie projects, like Abba T Makama’s The Lost Okoroshi and Damilola Orimogunje’s For Maria, to blockbusters like Niyi Akinmolayan’s Chief Daddy and Jade Osiberu’s Gangs of Lagos (which he also executive produced), Demi’s impressive resumé is indicative of an actor willing to elevate whatever role he’s given, no matter how small. 

Demi is set to step into the leading man ring sometime in 2023 with TOSOB (we need someone to decipher this title), the boxing drama that’ll have him facing off against Tobi Bakre. 

RECOMMENDED: How Damilola Orimogunje and Meg Otanwa Made “For Maria”, a Nollywood Game Changer

Teniola Aladese 

Source: Showmax

There’s a scene from the first season of the AMVCA award-winning show, Ricordi, where Teniola Aladese’s character, Adesoye, gets involved in a confrontation that leaves the audience heartbroken. What could’ve easily turned into a melodramatic scene becomes a gut-wrenching moment for the audience thanks to Teniola’s nuanced performance. The actress has brought this captivating presence to a wide range of film and television projects over the past few years. 

Jammal Ibrahim 

Source: Showmax

Nollywood action stars don’t just exist in film; they exist on TV shows too. And Jammal Ibrahim is one actor who has the genre in his hands. The Crime and Justice: Lagos actor has proven he’s a double threat on screen, pulling physical and emotional punches in his role as Detective Danladi. With Nollywood finally taking a break from rom-coms to focus on action projects, Jammal is quickly working his way to becoming the bad-ass action star we didn’t know we needed. 

Olarotimi Fakunle 

Source: Amazon Prime Video

Gangs of Lagos might’ve been the Tobi Bakre show. Still, there’s no way anyone who saw Jade Osiberu’s Amazon Prime debut didn’t turn off their screens thinking about Olarotimi Fakunle’s performance as Kazeem, AKA Eleniyan. The nuance and depth Olakunle brought to his role as Kazeem helped audiences connect to a man who just wants to be seen, despite all his unhinged acts. 

It’s easy to play a villain audiences can hate, but over time I’ve come to understand that the best villains are the ones audiences can understand or relate to (this is why people still mess with Thanos and Namor to this day). 

Paul Nnadiekwe

Source: NdaniTV

Paul Nnadiekwe’s big Nollywood moment came with in 2022 with his lead role as Ayo in the NdaniTV underrated gem, Schooled. While it looks like Nollywood hasn’t utilised his talents as they should, everything is about to change for the charismatic actor, with leading roles in Everything Scatter, Jade Osiberu’s follow-up to Gangs of Lagos, and Ahamefuna, Kayode Kasum’s upcoming Igbo apprenticeship drama. 

Onyinye Odokoro

Source: YouTube

Onyinye Odokoro is more than a Nollywood star; she’s a global superstar. From her role in Dika Ofoma’s nuanced story of letting go, A Japa Tale, to Africa Magic’s Dilemma and the British Sky Original show, Unwanted, Onyinye has captured audiences across continents with her incredible talent. With 2022 already marking a pivotal moment in her career and 2023 kicking off with her lead role in the Domitilla reboot, Onyinye seems poised to rule the screen for a long time. 

ALSO READ: 7 Brilliant Nollywood Short Films That Need to Be on Your 2023 Watchlist

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6 Takeaways From Yvonne Nelson’s Book, “I Am Not Yvonne Nelson”  https://www.zikoko.com/pop/6-takeaways-from-yvonne-nelsons-book-i-am-not-yvonne-nelson/ https://www.zikoko.com/pop/6-takeaways-from-yvonne-nelsons-book-i-am-not-yvonne-nelson/#respond Tue, 20 Jun 2023 11:54:21 +0000 https://www.zikoko.com/?p=308909 The internet is on fire, and Ghanaian actress Yvonne Nelson seems to have lit the flame. The actress and producer famous for her roles in films like House of Gold, If Tomorrow Never Comes, Princess Tyra and Playboy recently released her latest project, the memoir, I Am Not Yvonne Nelson

Source: Amazon

The book, which details her professional and personal journey, has become a hot topic online, so we decided to get into some of the most interesting revelations it contains. 

Source: I Am Not Yvonne Nelson

Confirmation of her relationship with Sarkodie and the baby they never had

Source: MyNewsGH

Rumours have gone on for years about Yvonne Nelson’s alleged relationship with Ghanaian rapper Sarkodie. 

Source: I Am Not Yvonne Nelson

Finally confirming the gist that’s been drifting around for over a decade, Yvonne details her relationship with Sarkodie, which ended in 2010 after she had an abortion. The book goes into graphic details about the process, Sarkodie’s decision to abandon her at her lowest point and the trauma that followed her choice back then. 

The story of her break up with Iyanya and Tonto Dikeh’s alleged role in everything 

Source: The Daily Post Nigeria

Remember when Iyanya sang “Yvonne Nelson, I have your medicine” in Your Waist in 2012 and ended up dating and tattooing Yvonne Nelson’s name on his body?  Good old days. 

Almost a decade after their relationship ended in 2013, which Yvonne briefly discussed on The Juice with Toolz, the actress and producer details the events leading up to their break up. She claims that Iyanya not only cheated on her but did it with multiple women, including Tonto Dikeh. While we wait for Tonto to break the internet with a response, Iyanya has taken the book as an opportunity to promote his latest EP, ironically titled Love & Trust, which slaps, by the way. 

She accused Nollywood of being an industry of pimps

Source: All Africa

Pulling her own Caroline from Real Housewives of Lagos card, Yvonne goes into alleged cases of actresses and actors being pimped out to Nigeria’s financial and political elites. While she doesn’t mention names, she goes on about her experience and how she avoided following the same pattern during her time in Nollywood.

RECOMMENDED: 8 of the Coolest New School Artistes to Help You Get Into Ghana’s Music Scene

Genevieve Nnaji makes an appearance 

Source: Yvonne’s Instagram

If, like me, you were gagging after seeing  “Genevieve Nnaji and the Rest” as the title of the book’s 14th chapter, then I’m sorry to disappoint you. It’s not like I was expecting something scandalous about my unproblematic queen, but not everyone in this book has been mentioned for good, so there were some mild heart palpitations. 

The 14th chapter of the book talks about her time working with Ms Nnaji on the set of the 2008 Ikechukwu Onyeka-directed film, To Love And To Cherish, which also starred Chidi Mokeme. In the book, Yvonne talks about how great it was to work with Genevieve, and that was it. 

Source: IMDB

Yvonne Nelson would’ve been a politician if not for John Dumelo 

Source: GH Page 

Another takeaway from Yvonne’s memoir is her brief stint in politics and how it ended because of her loyalty to John Dumelo. 

In the book, Yvonne talks about how she was approached in 2020 by a few politicians to run for a seat in Ghana’s parliament. The actress explains that she turned down the opportunity because her friend and fellow actor, John Dumelo, was contesting in the same elections. John, who lost the election but plans to run again in 2024, confirmed this in a now-deleted tweet. 

Source: Twitter

The identity crisis that followed a shocking discovery about her “dad”

Source: MyJoyOnline

While a lot of the drama trailing Yvonne Nelson’s memoir has focused on her romantic relationships, the book’s main focus and inspiration behind its title comes from her relationship with her parents. 

In the book, Yvonne reveals a shocking fact about her family. Her mum had claimed a certain Oko Nelson was Yvonne’s father all her life despite the man’s counterclaim that she wasn’t his daughter. For years, Yvonne and her alleged father were estranged over the belief that he didn’t claim her. It wasn’t until Mr Nelson was fatally ill  that her mum finally revealed that he wasn’t her dad. 

Source: Daily Advent

Yvonne details the regret and pain that followed this revelation and how Mr Nelson’s death further compounded it. This confusion about her paternity informed the book’s title, I Am Not Yvonne Nelson, after finding out that  the man whose name she’s carried over the years wasn’t her real dad. 

You can find Yvonne’s memoir here


ALSO READ: Stanley Okorie Sang “Billionaire” But His First Salary Was a Bottle of Sprite

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Stanley Okorie Sang “Billionaire” But His First Salary Was a Bottle of Sprite https://www.zikoko.com/pop/stanley-okorie-sang-billionaire-but-his-first-salary-was-a-bottle-of-sprite/ https://www.zikoko.com/pop/stanley-okorie-sang-billionaire-but-his-first-salary-was-a-bottle-of-sprite/#respond Mon, 19 Jun 2023 15:12:12 +0000 https://www.zikoko.com/?p=308798 There’s no Nollywood without Stanley Okorie. Whether or not that name rings a bell, you can bet you’ve heard his voice before — especially if you grew up watching Old Nollywood movies

With soundtrack credits on over 1,000 Nollywood films, Stanley Okorie is the singer and composer behind songs like Karishika (Queen of Demons) from the 1996 film of the same name, the popular Nkem Owoh song, I Go Chop Your Dollar (Stanley sang the song while Nkem Owoh lip synced Drag-race style) from the 2004 film, The Master, and the recently viral Billionaire (Onye Ji Cash) from 2019’s Return of the Billionaire that seems to be setting the streets of TikTok on fire. 

Catching up with the singer in May 2023, he talks about his entry into Nollywood at a time when the industry depended on soundtracks to push storytelling, the struggles of navigating Nollywood in the 1990s and early 2000s and the hilarious story of how he got paid with a bottle of Sprite for his first soundtrack. 

Source: Provided by subject

Let’s talk about what I like to call the Stanley Okorie Renaissance. 

It’s been amazing and pleasantly surprising that the music I made in the 1990s and early 2000s is getting attention these many years later, on platforms I’m still learning about. It makes me feel like I didn’t waste my time back then because I made music I liked, not necessarily for anyone in particular. But there’s also a sense of feeling challenged by it all. If the work I did back then can hold its own decades later, I need to make new music that can have the same value years from now. 

Fun fact: the people who were ten years old at the start of my career are now parents in their 30s and early 40s. How time flies. 

I’m one of them. LOL. How did you discover that you and your music had become viral sensations? 

Someone called me a while ago, singing Happy Mumu, and I wondered why this young guy was singing a song I released almost ten years ago. He explained that everyone online was making videos of that song and Billionaire (Onye Ji Cash), but I didn’t understand until he started sending me videos. It was like people had recorded hundreds of videos with my songs. 

I’m not on social media, so I didn’t get the gist on time. But I now realise a lot is happening online, and I need to find a way to create some presence there. 

I’m curious about your Nollywood journey. What inspired your decision to enter the then-unconventional industry? 

When I showed my grandmother my first car, she asked what I did for a living, and I told her I produced music. She was shocked. I remember her saying she’d never seen any newspaper job advert calling for a “Music Producer”. To them, music was a reckless career. 

Every one who got into Nollywood at the time I did in the late 1990s did so with a lot of passion but little to no money or experience. I moved to Lagos after university to pursue a master’s in mass communication, and it was during this time I met my friend, the late Sammie Okposo. I’d hoped to become a gospel singer, but Sammie was into the soundtrack business, so I got introduced to that part of Nollywood when I lived with him for about six months. 

Making soundtracks was purely by accident. Sammie and I learnt on the job and did it because we loved music. There was no money in it when we started. My first soundtrack was in 1995, and they paid me with a bottle of Sprite. 

It’s a lie. What? 

Yes o. And the guy was even saying he overpaid me. This is what it was like back then when we struggled and didn’t have a name in the industry. This guy had come to me with the script and idea, I recorded a song, and he told me he wouldn’t use it because he didn’t like it. I’d moved on until I heard my song on the film two weeks later. I called him, and he was like, “I paid you. That bottle of Sprite I bought for you when we were recording was your payment.” 

And you took it like that? 

I mean, from that soundtrack, I booked my next job, Compromise, in 1996, which I actually got money for. Then there was Atrocity and Karashika that same year. That first film, I can’t remember the title now, set the ball rolling, so I can’t say I regret working on it. 

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You mentioned the legendary Sammie Okposo’s role in your journey. As an artiste who’s left an indelible mark on both Nollywood and the gospel music scene, I’d like to know more about your experience with him. 

Sammie was my guy, and I miss him very much. He taught me how to compose chords. The man had a great ear. When Sammie knew what he wanted, he was impatient in getting that sound, but when unsure, he’d take as long as he needed to figure it out. He always worked towards perfection. 

I actually encouraged Sammie to go into gospel music. I’d just released my album, Jesus, I Love You, but I realised live performances weren’t my thing. I wanted to be behind the scenes, but Sammie was someone who could handle the fame, so we switched. You cannot do gospel music without performing and shouting “Praise the Lord” on stage. I don’t have that energy. I want to compose music in a closed space with air conditioning. LOL. 

I was supposed to work with Sammie on an album this year [2023]. 

I’d like to know how you guys made soundtracks back then. Did the script come first, or did you watch the movie then record a song? 

When we first started, the producers and directors would call us, sit us down and narrate the film’s plot in two minutes. After that, they’d say, “We need music for when the girl runs mad” or “when the woman is crying after her husband dies”. The funny thing is, they’d then ask if we could get the music ready by the next day. Can you imagine? 

We started asking for scripts down the line when our role as soundtrackers began to have weight in the industry. When the scripts were being changed on location or the film ended up taking a different direction from the scripts, we started asking for rough cuts of the scene our music would be used for. 

The final process was we’d get the rough cut, compose our music, book a studio to record, pay instrumentalists and backup singers, and then, submit the song to the person in charge. They’d pay us our balance if they liked it, and everyone would live happily ever after. 

Source: Provided by subject

Soundtracks back then ended up giving away the film’s plot most of the time. Was this intentional? 

No. We made soundtracks to heighten the emotions of a scene, not give away that scene before it happened. But the issue was editors placed these songs before the scenes they were created for, messing up the flow of the soundtrack and story. I noticed it and started asking producers to allow me to place my songs myself, but they refused to pay me for that, so I just let them do whatever they wanted. It was a dog-eat-dog industry, and I wouldn’t kill myself because of it. 

In the 2010s era of Nollywood, films stopped focusing on narrative storytelling through music. What was it like for you as a creative who made a living making soundtracks? 

Nigeria’s relationship with music is cyclical. The 1960s and 1970s were all about Nigerian music, with artistes like Fela and Bobby Benson. When we stepped into the 1980s and 1990s, we’d become obsessed with foreign artistes like Michael Jackson and Biggie. The wheels have turned again, and everyone is on a Tiwa Savage and Davido vibe. Music is constantly evolving. 

There was a time when I made almost 98% of the soundtracks out of Nollywood. So I’ve actually struggled to get out of the industry. 

You wanted to leave Nollywood? 

Yes, several times. Working in the industry took all my time and concentration. It cost me my marriage and many other relationships. I missed important moments like my children’s birthdays and my friend’s weddings, all because I was working on one project or the other. There was always the next job. I wanted to leave, but Nollywood didn’t want to let me go. 

How? 

Every time I said I would retire, I’d get an offer I couldn’t resist. Producers started paying me my fee before I even submitted a song, so I’d be committed to making it. I kept saying the next one would be my last, but here we are today. 

The power of capitalism, for real. What’s the next move now that everyone is back on the Stanley Okorie train, thanks to social media? 

I’m working on a Best of Stanley Okorie compilation of my soundtracks, so you’ll get to listen to popular songs like Billionaire (Onye Ji Cash) and Happy Mumu, as well as songs people probably didn’t know I wrote or performed. I’ll also throw in three or four new tracks I’m working on. I’m looking to work with Flavour, Davido and Don Jazzy for the new tracks. Since I’m making new music, it might as well be big-time projects. 

I’m also getting into filmmaking soon. After all these years working on other people’s films, it’ll be fun to make my own. 

Have you seen some of the films coming out of Nollywood these days? 

I’m excited to see Gangs of Lagos. I like movies that tell our stories, not those ones where Nigerians are acting white. I want to see films that are true to the authentic Nigerian experience. As long as the hunter tells the story of the hunt, it’ll never favour the dog. 

Damn, is that a parable? You’re giving Old Nollywood energy, and I love it. 

LOL. That saying means if we continue to allowforeigners to control our narrative, we’ll never get reflected positively. I’m a disciple of Fela; he was all about African consciousness. No matter how we try to be Western, we’ll always be Nigerian. These Nigerian stories are what I’d like to see on my screen — whether or not I’m the one behind them. 

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