Commercial bias in scripting

Every writer has to decide on a bias before writing the script. Nollywood is mainly patronised by women. As such a commercial writer will write a film favourable to women.

If two suitors are fighting for the affection of a pretty damsel, one is WHITE, the other BLACK. to be a COMMERCIALLY oriented, the BLACK suitor should win in a Nollywood film if the Damsel in question is also BLACK.
In conclusion commercial writers should not ignore the stereotypes and beliefs of their audience when writing. Do not impose your superiority complex on them.


- (c) 2015

DRAG HIM TO THE ALTAR: BY FIRE BY FORCE - A Nollywood Masterpiece

DETAILS SOON........

Casting in Film

For conceptual clarification I will divide casting into two categories:

1. Casting based solely on physical attributes

2. Casting based on ability to interpret the speaking role.

 Colorblind casting (also known as Non-Traditional casting) is where characters for a performed work (theater, TV, film) are cast without prejudice to race, gender, age, etc. But this is not covered in this write up because most casting directors already have a structure given to them by the Director based on the script.

 Example 1. If the script requires a 25yr old black male, running in the park; Casting a 50yr old white female for the role is wrong.

 Example 2. If you now cast a 25yr Black athletic male, who is exceptional when delivering his lines in English, He will be useless if the film is in Ibo language. It is important to note here that cases abound where the actor cant speak the language, but they are taught it on set. But this usually happens with big names or if the line is minor.

 I want to separate the physical attribute of the talent, from the ability to interpret the role verbally. The "Ability over Appearance" debate has raged before Shakespeare and would continue. I have always said it is okay to pick a side, but do that on a project by project basis.

In extreme drama where facial expression and good line delivery is expected, it is expected to have a bias towards ability. In an extreme case in the Kim & Ray-jay sex tape, casting Rapper Rick Ross with Kim will not have the same commercial success.

 I have a bias for appearance, because movie making is a visual medium. More importantly you can teach a beautiful person to improve her acting skill, but an ugly person will always be ugly. I take appearance as a TALENT in itself. When the person is beautiful and talented it is a win win situation. To make your day here are two talented and beautiful women, Amber Rose representing Hollywood, and Brun Njua representing Nollywood.

Lodon Na Wa Grande Premiere

Get the casting right

DIRECTOR'S CUT BY Nelson Spyk LondoNollywood

Getting the Casting right for a film is paramount. When you get the casting right and the cast are also talented , you are sure your audience will feel the emotion the writer wants to convey, and really enjoy the film.

On set (As with most Nollywood set) the first time both talents met, they had less than an hour to "Bond". But once you nail the first scene, it is usually smooth sailing afterwards.
This particular scene was INTENSE, and emotionally draining. But these talented professionals gave it their all.

Drag Him To The Altar : By Fire By Force will be one of the best romantic drama's in recent times.






Creative Director: Ruke Amata
Writer: Nelson Spyk
Producer: C-Ong 

License to Film in London (Get it right)

I will keep this simple.
1. If you are not filming in private property
2. Your cast and crew does not exceed 4 in total
3. You inform the relevant Borough.

Filming "Adambano in London" A total of 4 Cast & Crew. No tripod.

If you are less than five people, including participants and actors, you count as a small crew and the procedure for filming in London is quite straightforward.

Informing boroughs

Once you have identified the areas you wish to film at, you need to contact the relevant Borough Film Officer to advise them of your filming.
If you are using a handheld camera and your filming will not cause an obstruction then there is no restriction to filming on London’s public highway. In some boroughs this also extends to small crews with a tripod. No licence or any form of official permission is required.
Common law rights allow users of public highways to “pass and re-pass ... and to make reasonable use of it”. Section 137 of the Highways Act 1980 restricts these rights where the use of the highway causes an “obstruction” to other users rights of free passage. If you are considered to be causing an obstruction then there is a risk that you will be stopped from filming.
If you think you are likely to cause an obstruction then you need to apply to film via the appropriate Local Authority, however we strongly recommend that you always inform the relevant Borough Film Service if you are filming on their streets. If the local authority is not aware that you will be filming in the area then you can be asked to stop.
If a member of the public complains and you don't have permission to film, then you may be asked to move on by police. Some Local Authorities provide Notices of No Objection for small crew filming.
Notices of no objection
Some Authorities offer the option to obtain a Notice of No Objection — essentially an informal letter confirming that, based on the information you've provided, the Local Authority has no objection to the filming going ahead.
Not all boroughs offer these Notices; with those that do, some provide them free of charge and others charge between £25-£100. In addition to providing you with the document some Local Authority Film Officer will check for any works in the area that might affect your shoot, and will notify the local police for you, if necessary.
Be aware that this notice does not provide a carte blanche. If your filming creates an unforeseen obstruction you can still be forced by the police to move on.
All crews using a tripod to film in the boroughs of Westminster and City of London must obtain a Notice of No Objection. Applications for small crews need to be made with a minimum of three days notice. Productions using handheld equipment do not need to obtain a Notice.

- Source: Film London
For more Information about filming in London cLICk....

"Living In Boundage" Start of the Nollywood Journey.

Living in Bondage, now considered a classic, was the first Nollywood 'blockbuster'. It sold over 500,000 copies in VHS tapes within weeks of its straight-to-video release. It marked the beginning of an industry that now produces over 1,000 movies a year.
The average Nollywood production costs about $15,000, has a one- or two-week shoot and sells between 25,000 and 50,000 copies at about £1.50 a copy.
Every so often a 'blockbuster' comes along that sells 500,000 copies. Production values have risen since Living in Bondage, but the single most popular theme is witchcraft and only a brave, or very foolish, director would tell a story where evil wasn't punished and good rewarded.
Fans would claim that the films deal with other pressing issues of contemporary African life: religion, family conflict and corruption, albeit routinely sensationalised.

- Source The Guardian

The film embedded here is courtesy of  Nollywood Classics