In order to re-engineer its ideals and
develop the burgeoning film industry, some Nollywood stakeholders
recently put together a Nollywood conference, a platform to discuss the
growth of the industry. SAMUEL ABULUDE brings to fore, some of the
issues discussed
The movie industry in Nigeria tagged Nollywood has been a thing of pride among Nigerians and African at large because of its potentials and proficiency in telling the African stories. From nothing, it became an empire becoming the third largest film making corridor in terms of quality and quantity after Hollywood and Bollywood.
Kehinde Soaga: Marketing Nollywood Content
On marketing, we have sold ourselves so cheap in all ramifications. I happen to be one of the first set of movie suppliers to multichoice. At some point the marketers in Aba, found their way to multichoice and started selling direct cost of “I need money now now syndrome” at any cost. The trader/marketers do not see film as investment rather they see it as common trade and the Dstv payment as a mere bonus. Selling of t.v Rights too cheapened the value of movies. On line sales we’re talking about is no different. No control,no regulation. My Lagos na wah has been selling on line since 1997. I don’t how it got there and haven’t made a kobo from it. So also are my other works. If only anyone can give us an insight into the online biz is when i can comment.
Mahmood Ali Balogun: Protection of Intellectual Property
This is where rights management comes in. It’s a difficult task for us to monitor effectively the use of our works around the globe, reason why collective rights management helps to recoup some of the income lost every year. The new Audio Visual Rights Society of Nigeria (AVRS) manages rights of Nigerian cinematograph films in Nigeria and through reciprocal agreements around the world.
Prince Ade Bamiro: Looking Inwards In Developing Nollywood
If we can improve on the story and quality of what we put out there and centralise our approach to the international outlets mentioned above, we can start to smell profit from our sweat from the little amount of hard currency. The outlets are aware of us ready to take us on. We need central body of approach. Example: Nigeria Film and Video Censors Board NFVCB allow or reject movie to be shown. When it comes to Nollywood products, those who are already on should give us insight if they will as part of our research to central approach on these issues. These are the future and it already started the train is on already let us occupy our seats intelligently. We can and will be successful. We can not depend on the income from the local theaters in the country alone.
Lancelot Imaseun: Taking Advantage of Huge Market
We are 160million people or above, are you guys sure we have truly explored our inner potentials with regards to distribution? Guys let’s come up with ways to generate income from within our shores, africa, africans in diaspora first. Don’t get me wrong I do not say these suggestions on internet sales outlets are not good, but we are losing a lot at home, that’s what DSTV capitalised on. Today they are massive. Let’s look inward, I write as a producer,and investor.
Natty Bruce: Public Interest & Investment In Nollywood
These days we were made to understand that for a film project to attract INVESTMENT you have to build a public interest first before approaching Investors …
In Nigeria what bothers me as a Filmmaker is, Do we really have investors in the private sector and if we have, do they understand the core business of Film? Even the biggest Hollywood hitters on most occasions do not approach an investor or executive without collateral or proof of public interest attached to their project. Collateral being defined as “box office talent (BOT)”, distribution, book sales from the published book version of the script, or social media data ( video hits, fan following, etc…) that demonstrates there’s public interest in the project. Still on my question, if a Filmmaker builds this public interest here in Nigeria first before approaching Investors… Who are the investors other than NEXIM BANK? Or the individual Filmmakers and Marketers who are struggling with few million bulks of theirs to shoot their own private Films? “Which Way Nigeria?”
Emmanuel Etim: Online Platform The Way To Go
Everything from household products to food and books are now sold online. Film and other content have also moved in this direction. Nigeria film industry must thus take advantage of this exciting opportunity to increase earned revenue and meet growing demand. In seeking to achieve this stakeholders in the industry must partner ICT stakeholders and build platform that can serve the industry. Now is the time to act and we must act swiftly and decisively. Leading online film distribution platforms including Netflix, Amazon and iTunes are doing well in film sales globally. Netflix has a huge user base which is growing daily. To get your film on netflix you’ll need to go through an aggregator which is the company you pay to deliver your film to Netflix. The fee to do this can be fairly heavy, about $1,500. Eager to find online distribution partners to take advantage of new revenues arising from digital syndication, Paramount pictures, MGM, Lions Gate Entertainment, Warner Bros and Miramax all signed to stream and sell their content over netflix in 2011. ITunes also has large user base. iTunes users already have accounts set up with their credit cards info plugged in, so if they want to buy movies, it’s really easy – literally just a click away. ITunes also uses aggregators but it is also possible to submit your film yourself. The process may be a bit difficult but if you succeed, they will take 30% of the profit of each sale. Nigerian film industry stakeholders can partner to establish a formidable platform that can serve it like it.
The movie industry in Nigeria tagged Nollywood has been a thing of pride among Nigerians and African at large because of its potentials and proficiency in telling the African stories. From nothing, it became an empire becoming the third largest film making corridor in terms of quality and quantity after Hollywood and Bollywood.
Kehinde Soaga: Marketing Nollywood Content
On marketing, we have sold ourselves so cheap in all ramifications. I happen to be one of the first set of movie suppliers to multichoice. At some point the marketers in Aba, found their way to multichoice and started selling direct cost of “I need money now now syndrome” at any cost. The trader/marketers do not see film as investment rather they see it as common trade and the Dstv payment as a mere bonus. Selling of t.v Rights too cheapened the value of movies. On line sales we’re talking about is no different. No control,no regulation. My Lagos na wah has been selling on line since 1997. I don’t how it got there and haven’t made a kobo from it. So also are my other works. If only anyone can give us an insight into the online biz is when i can comment.
Mahmood Ali Balogun: Protection of Intellectual Property
This is where rights management comes in. It’s a difficult task for us to monitor effectively the use of our works around the globe, reason why collective rights management helps to recoup some of the income lost every year. The new Audio Visual Rights Society of Nigeria (AVRS) manages rights of Nigerian cinematograph films in Nigeria and through reciprocal agreements around the world.
Prince Ade Bamiro: Looking Inwards In Developing Nollywood
If we can improve on the story and quality of what we put out there and centralise our approach to the international outlets mentioned above, we can start to smell profit from our sweat from the little amount of hard currency. The outlets are aware of us ready to take us on. We need central body of approach. Example: Nigeria Film and Video Censors Board NFVCB allow or reject movie to be shown. When it comes to Nollywood products, those who are already on should give us insight if they will as part of our research to central approach on these issues. These are the future and it already started the train is on already let us occupy our seats intelligently. We can and will be successful. We can not depend on the income from the local theaters in the country alone.
Lancelot Imaseun: Taking Advantage of Huge Market
We are 160million people or above, are you guys sure we have truly explored our inner potentials with regards to distribution? Guys let’s come up with ways to generate income from within our shores, africa, africans in diaspora first. Don’t get me wrong I do not say these suggestions on internet sales outlets are not good, but we are losing a lot at home, that’s what DSTV capitalised on. Today they are massive. Let’s look inward, I write as a producer,and investor.
Natty Bruce: Public Interest & Investment In Nollywood
These days we were made to understand that for a film project to attract INVESTMENT you have to build a public interest first before approaching Investors …
In Nigeria what bothers me as a Filmmaker is, Do we really have investors in the private sector and if we have, do they understand the core business of Film? Even the biggest Hollywood hitters on most occasions do not approach an investor or executive without collateral or proof of public interest attached to their project. Collateral being defined as “box office talent (BOT)”, distribution, book sales from the published book version of the script, or social media data ( video hits, fan following, etc…) that demonstrates there’s public interest in the project. Still on my question, if a Filmmaker builds this public interest here in Nigeria first before approaching Investors… Who are the investors other than NEXIM BANK? Or the individual Filmmakers and Marketers who are struggling with few million bulks of theirs to shoot their own private Films? “Which Way Nigeria?”
Emmanuel Etim: Online Platform The Way To Go
Everything from household products to food and books are now sold online. Film and other content have also moved in this direction. Nigeria film industry must thus take advantage of this exciting opportunity to increase earned revenue and meet growing demand. In seeking to achieve this stakeholders in the industry must partner ICT stakeholders and build platform that can serve the industry. Now is the time to act and we must act swiftly and decisively. Leading online film distribution platforms including Netflix, Amazon and iTunes are doing well in film sales globally. Netflix has a huge user base which is growing daily. To get your film on netflix you’ll need to go through an aggregator which is the company you pay to deliver your film to Netflix. The fee to do this can be fairly heavy, about $1,500. Eager to find online distribution partners to take advantage of new revenues arising from digital syndication, Paramount pictures, MGM, Lions Gate Entertainment, Warner Bros and Miramax all signed to stream and sell their content over netflix in 2011. ITunes also has large user base. iTunes users already have accounts set up with their credit cards info plugged in, so if they want to buy movies, it’s really easy – literally just a click away. ITunes also uses aggregators but it is also possible to submit your film yourself. The process may be a bit difficult but if you succeed, they will take 30% of the profit of each sale. Nigerian film industry stakeholders can partner to establish a formidable platform that can serve it like it.
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