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

"Champagne " Movie premiere review

The Introduction of the film was classy. Then it drags. The introduction of Magid's character was appalling, and that was clearly not filmed in the US.
The story is lovely, but the delivery in some scenes is childish. Alex Ekubo is a good actor, Rosemary has a lovely back side, but not cute enough to carry the character she played (Her hair was a travesty). A few production baby mistakes I will not go into.
The movie is very commercial, the best scene for me is the "Proposal scene". That was a masterpiece. Then the psycho side of Mr Douglas (Played brilliantly by Majid) was revealed in a very interesting twist. Then the movie  drags again losing momentum. In a typical commercial movie climax, Alex the hero comes to rescue his bride.
The location and cinematography was exceptional, the sound was very bad in some areas, and where  they used voice-overs it  was  too obvious.
In summary, I LOVED THE MOVIE. I would recommend it. I actually sat through the movie and was intrigued. The "Twist" was a masterpiece. A wonderful story by Emem Isong.




Synopsis: A young couple couple (Alex Ekubo & Rosemary Zimu) who are in an Open marriage, date unsuspecting people mainly for money and perks until they bite off more than they can chew when they meet the enigmatic Mr. Douglas (expertly played by Majid Michel). A romantic thriller, the movie keeps you guessing till the very end.Shot in the cities of Johannesburg, South Africa and Houston Texas, U.S.A, ‘Champagne’ also stars Tana Adelana, Mbong Amata, Susan Peters, Padita Agu & Anita Chris. It was produced and directed by Emem Isong.

"Over-acting" The new standard

Extreme non-verbal acting (Body language) infused in over-the-top delivery of dialogue, is the backbone of commercial comedy . This acting style is mainly utilized in Nollywood films and is fast becoming the norm.
This style is easily adopted in West Africa because some tribes are actually very expressive. The growing acceptance of Nollywood movies, is an indication that this is the new trend.
It must be noted however that acting style is dependent on what the Director wants to potray. My point here is for commercial purposes there is a trend towards "Over-acting"