Judul : "Why We Must Brand Ourselves On Screen" — Bolanle Austen-Peters On Nollywood's Commercial Legacy
link : "Why We Must Brand Ourselves On Screen" — Bolanle Austen-Peters On Nollywood's Commercial Legacy
"Why We Must Brand Ourselves On Screen" — Bolanle Austen-Peters On Nollywood's Commercial Legacy
Visionary producer, Bolanle Austen-Peters (BAP) has strongly refuted the notion that quantity and quality are incompatible. She explained how her studio successfully transitioned to more lucrative, smaller-scale projects and presented a compelling call to action for the industry: Maintain high standards, but transform the entire system. In addition to the fundamental requirement for teamwork, BAP identified two further key elements for achieving these objectives: Strategic Production Adjustments (investing only where it impacts the final outcome) and Bold Self-Branding (taking charge of the story to present the industry's desired image worldwide). She shared all these insights during a casual discussion at the recently held NFVCB Peace Anyiam-Osigwe Digital Content Conference.TOMI FALADE brings excerpts.
Love that you pointed out that value and volume aren't opposing forces, and we see from Nollywood's history, from VCDs to today's YouTube, that volume has helped grow audiences, but it's value that creates a legacy. Is there a way to achieve both? Is there a method to boost both value and volume? You mentioned collaboration as one approach in your talk. Are there any other strategies? Do you have more practical examples of how we can achieve these goals as we progress in the industry?
To be honest, I don't believe they are opposing forces. It's possible to create small-scale projects, but the standard of quality should remain high.
We produced large-scale musicals, which typically cost around 100 million or similar amounts to stage, as there are many elements involved. However, in recent times, as funding became increasingly challenging, we opted for smaller narratives. When touring, it's simpler to transport smaller productions. Previously, we sent 50 people overseas. These days, that level of expense is no longer feasible. So we asked ourselves, does this mean we can't tour anymore? We decided, no. What we need to do is focus inward and reduce our size.
Does that imply the production's value will be affected? We also responded with a no. So we initiated a series. It has been incredible. We are now spending just 1/10 of what we previously spent, yet we are earning more money. This shows that it's not about reducing expenses, but rather adjusting your content approach.
We do not compromise on excellence in terms of costumes. We do not reduce standards when it comes to stage design, those production elements that others often cut back on; I never compromise on them.
I told Joseph, my co-producer and team, that we should reduce elements that won't be visible in the final movie. Eliminate things that won't be noticeable once the film is complete. However, you can't reduce the budget for costumes. You can't compromise on set design. You can't lower the standard of the cinematographer's work. You can't cut back on the essential aspects that will remain on stage and on screen permanently.
What does value resemble in the present day when examining Nollywood, in terms of artistic, cultural, and commercial aspects, what is the current value of Nollywood?
I mentioned it before. I believe that if we examine how the world views Nigeria, we are involved in the narrative of Nigeria's portrayal. Therefore, when people encounter Nigerians elsewhere, they form certain perceptions about us. This is because of how we have presented ourselves through films and theatrical performances.
The typical Nigerian is often viewed as XYZ, since that's how we depict ourselves in films. We present ourselves as impoverished. That's how others perceive us. However, the Western world has recognized the influence of marketing and branding. They market empty concepts. Sometimes, they invest more in branding than on creating the actual content. We do the reverse. We allow others to define us, and then we concentrate on producing weak efforts, hoping people will notice us. No, we need to establish our own brand, shaping how we want people to refer to us.
I recall a straightforward tale shared with me by Shaffy Bello. She might not remember telling me this on set. She mentioned, "BAP, when I first returned to Nigeria, no one offered me the roles I desired, so I chose to bring my clothes and jewelry to the set."
This is truly intriguing to me as a producer and director. If you ask an actor to wear their own clothes, they would say, "absolutely not!" I'm laughing and thinking, it's your face that will be seen, not mine. What's my issue? But this is a woman who was ahead of her time.
I'm not implying that producers shouldn't provide, but she was aware of her direction. She mentioned she would bring her clothes, hair, and jewelry. When people first saw her as a wealthy woman in a movie, the roles began to come in quickly.
During the making of 'Bling Lagosians 2', Tana brought her shoes, her bags, to match all the items I had. She said, "sister, we have to represent. We can't claim to be rich and then look 'one kain'."
All aspects revolve around positioning and how we present the industry. It's also about how we market ourselves. Therefore, value isn't just about me claiming, "I made 100 million at the bottom," but rather about the lasting impression people have when they watch that movie. Until tomorrow, people still discuss 'Bling Lagosians 1.' They tell me, "Oh my God, that film really gave me a glimpse into the world of the wealthy." And I didn't really do much in the second one; you'll see wealth portrayed there.
What I mean is that we need to go beyond the present moment and ask, "After I finish this movie, what message do people take from the work I've produced?"
For achieving success that goes beyond box office numbers, beyond viewership, what advice can you offer on how to sustain excellence?
I believe I'll put it very straightforwardly: people need to collaborate. Frankly, many individuals are involved in activities they aren't fully aware of. People refer to themselves as producers or executive producers, yet they can't secure funding. If you can't obtain financial support, you shouldn't be considered an executive producer.
There is a place for everyone. I'm not sure if this makes sense, but you can't serve as an executive producer without the ability to secure funding. Similarly, you can't be a director if you lack the skills to direct. So when individuals approach me and say, "BAP, I'm working on this project and need assistance," I feel that you shouldn't be putting yourself in this situation. You're placing yourself in a position where others may belittle you.
Instead, work together. Go and meet Mr. Femi Odugbemi and ask him to collaborate with you. I have this great idea, and I have N50m—what can you contribute? Can you provide equipment? That's the approach. You need to really get involved when you see opportunities, and assess what others can offer. You let them know you want to form a partnership. I want us to accomplish things together, because you can't do everything on your own. Some tasks are too costly and too challenging. We must learn to collaborate. We must learn to combine our resources.
There are people who are very close to me, and when they make their films, they simply call me and say, "BAP, we need costumes." Since I value my costumes, I agree, but I also bring in my team. So, they have to pay my team for their support during the process, and that's how collaboration works. Think about how much they would have spent on costumes, and now it's free for them. These are the kinds of situations we're referring to, which aren't always about money but rather about in-kind contributions.
Your professional journey has changed over time, starting from law and moving into areas such as theater and film. Where do you envision Nollywood going in the next decade, and what is your dream for the industry?
I am Nigerian, I have faith in Nigeria, and that's why I haven't left the country. I believe Nigeria will become great. I think every individual here is contributing to the story of Nigeria's future. I believe that if each of us gives our best, we will build a stronger nation. I feel we need to do a lot for the younger generation coming after us, as many of them don't have much right now. Some of us have gained a lot of knowledge and expertise, and we should invest in the youth. If we do this, even with the current progress in the creative field, we can see the development taking place. There are some challenges along the way, but overall, this industry is set to be very successful. We are here, we are going to take control, and Nigerian stories will go far. So, I'm not worried about the industry.
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