Nollywood has long been celebrated as one of the fastest-growing film industries in the world, with over 2,000 films produced annually, placing it on par with Hollywood and Bollywood in terms of output.
Yet, despite its success, the industry continues to struggle with limited access to sustainable funding.
For Nora Awolowo, an award-winning cinematographer and founder of Rixel Studios, Nollywood's future hinges on a crucial shift: moving away from over-reliance on external entities and toward self-sustaining growth.
In an exclusive interview with Torizone, Awolowo shares her experience navigating a male-dominated field within the industry, as well as her insights on how Nollywood can thrive independently by investing in its own infrastructure.
Torizone: Nora, let's start with the beginning: How did you transition from accounting to filmmaking?
Nora Awolowo: I started as a photographer, and then I gradually moved into filmmaking. I already had friends in Nollywood, and I saw an opportunity to join the industry. I began working behind the scenes, speaking to some of my friends, most of whom I met on Twitter. I was very active on Twitter at the time, and that's how I got started.
Torizone: As a woman in a male-dominated field like cinematography, what challenges have you faced, and how have you navigated them?
Nora Awolowo: I don't think I've faced many challenges on set itself. The major hurdle is actually getting a job that aligns with what I want at a particular period. Once I'm on set, it's straightforward, though physically demanding. Filmmaking is labour-intensive you need to be present on set, often for 12-hour days, and you're usually locked into a shoot for an average of 3-6 weeks. There are off days, typically after six or seven consecutive days of work.
In Nollywood, this kind of schedule is common, especially for assistant directors or those in similar roles. It's a back-to-back grind, with many people moving directly from one set to another. Most of your time is spent away from home. For instance, if your call time is at 7 a.m., you might not wrap until 14 hours later. On big days, especially with action scenes, the schedule is even more packed. Sometimes you're shooting through the night or for extended hours. No matter how passionate you are, this kind of routine takes a toll-it's exhausting.
Torizone: What are the working conditions like for you on set as a cinematographer?
Nora Awolowo: The conditions are rigorous and require a lot of stamina. You have to be ready for long hours, night shoots, and back-to-back schedules. It's a physically and mentally demanding job, but with a reliable team, it becomes manageable.
Torizone: Your upcoming project Red Circle features a star-studded cast and is directed by Akay Mason. How did the partnership for this action thriller come about?
Nora Awolowo: I had an idea for a film, and because of my experience in the industry, I was able to bring it to life. Everyone in my circle grew together in Nollywood, so I reached out to people who I knew could contribute to the project.
A lot of them were on board because they believed in the idea, and that resonated with the collaborators as well. Once we made the official announcement, everyone came to set ready to bring their A-game. The crew still talks about how collaborative the experience was, which for me, is one of the biggest takeaways. Of course, storytelling was very important, and I had to constantly make checks to ensure I delivered the results and goal I set out and make sure there was no compromise on my end. Everyone who took a chance and bought into my idea.
Torizone: How did you handle balancing payments and logistics with a cast that includes both veterans and rising stars?
Nora Awolowo: From the ideation stage, we held story workshops to flesh out the characters, which helped us identify the right people for each role. We managed to get about 80% of the cast we initially reached out to.
As a producer, your job is to get people to buy into your vision. I partnered with Abdul Tijani, who was the writer and co-producer, and together, we handled the logistics and payments. Everyone involved had worked on some of the biggest films in Nigeria, so it was a highly collaborative effort.
Torizone: What was the most challenging part of managing Red Circle's production costs and logistics?
Nora Awolowo: I approached the film with the mindset that I was going to enjoy myself, no matter the challenges. For instance, on some shoot days, we had fight sequences to film in Oshodi-a bustling and chaotic environment. Sometimes I am awake till past 2am solving problems or just making sure we are all set for the next day. Signed up for it anyway. Thankfully, I had a reliable team, which made it easier to delegate and manage tasks.
In Oshodi, the challenges were constant. The area was crowded, and the local community had their demands. We had security agents on the ground to maintain order, but we still had to deal with issues like hiding the actors when the situation got too overwhelming.
After managing all that, we also had to address the "area boys" (local street boys), who expected compensation for allowing us to shoot in their territory. It was a delicate balance of managing the logistics, ensuring everyone's safety, and keeping the production on track.
Torizone: With Netflix scaling back its investments in the industry, how do you see this reshaping the future of Nollywood, and what opportunities does it present for local stakeholders?
Nora Awolowo: The conversation has shifted to a critical question: How do we build our own infrastructure? For the longest time, many of us thought these external platforms were our saviors. But the reality is, if we don't invest in the industry ourselves, other players will come, take what they need, and leave.
As I've mentioned, this industry is driven primarily by private players. Perhaps, this situation will encourage more filmmakers to return to the cinemas and give their best shot at it to return to the cinemas, which is still a strong platform for showcasing our work. Regardless of what happens, we know there will always be an audience for our stories.
From a broader perspective, this is actually good for the industry because it pushes every stakeholder to unite and engage more with the government and players. Recent developments have put the government on its toes, and they're now being forced to recognize the importance of its role.
We need to acknowledge that streaming platforms are here primarily for business. Their cutbacks have reminded us that we can't rely solely on external entities. All eyes are now on the government, alongside private stakeholders, to work together and create a more sustainable ecosystem for the industry.
Torizone: Films like Jagun Jagun and Agesinkole have reshaped perceptions of Yoruba films. What's your take on this evolution?
Nora Awolowo: First of all, shout out to the producers behind these films. For people like us who grew up watching Yoruba films, it's inspiring to see how far the industry has come. Movies like King of Thieves and Anikulapo reignited interest in Yoruba stories, and they've shown that with increased budgets and improved production quality, the possibilities are endless.
This evolution highlights the importance of taking risks and investing in local stories. The industry is largely private-driven, and it's great to see private players stepping up to elevate the scale and quality of these films. This progress has even caught the government's attention, which is a step in the right direction for the industry as a whole.
Torizone: Do you think projects like Lisabi could be nominated at the next AMVCA or AMAA?
Nora Awolowo: Absolutely. I'm particularly looking forward to nominations in categories like Indigenous Language Film, as well as performance awards for actors. For example, I'm rooting for Macaroni as Best Supporting Actor. There's also potential for awards in sound and cinematography. One of my favorite scenes is when Macaroni's character dies-it's one of the best examples of acting performance I have experienced.
Torizone: Do you think Nigerian cultural and historical films have a better chance of global recognition, like at the Oscars?
Nora Awolowo: Every film that has emerged and gained recognition globally has shown the strength of our local stories. Interestingly, we've seen instances where investors have supported projects rooted in our culture and narratives.
I believe the qualifications for selection are films that follow the rules and regulations for international film categories, particularly those emphasizing local languages.
Take, for example, how The Woman King performed internationally it highlighted the power of storytelling rooted in African culture. It proves that the world is ready to hear our stories, told authentically and from our perspectives.
This presents a golden opportunity to share our rich cultural heritage and indigenous tales with global audiences. Films that truly resonate with culture and indigenous elements have the potential to make a lasting impact and gain global recognition, perhaps even at the Oscars.
Comments