The Story⚡
Big budgets, bigger risks—Nollywood’s blockbuster game is not for the faint-hearted. In Episode 5 of State of Nollywood Industry: Table Talk, director Captain Degzy and actress/executive producer Folakemi Bello spill the tea on funding nightmares, rampant piracy, and why a film’s premiere size can make or break its cinema run.
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Producing a Nollywood blockbuster like A Tribe Called Judah requires more than creativity—it demands navigating a maze of financial and logistical challenges. In Episode 5 of State of Nollywood Industry: Table Talk, hosted by Akintunde Damilare, a Nigerian film business journalist and co-founder of Shock Africa, filmmaker Captain Degzy (A Tribe Called Judah, The Griot, Asiri Ade) and actress/executive producer Folakemi Bello (Moremi, Super Story, The Benefactor) provide a candid look at the realities of big-budget filmmaking. Drawing from their work on The Benefactor, they discuss funding, piracy, and the critical role of premieres.
Nollywood’s funding system, rated 1/5, leans heavily on personal resources. Captain Degzy notes that banks rarely back films, leaving filmmakers to turn to family and friends. Grants exist, but their restrictive terms and bureaucratic hurdles make them elusive. Bello, new to executive producing with The Benefactor, describes relying on close contacts to fund the project, a common but limiting practice that strains personal finances.
With regulatory support rated at 2/5, piracy remains a major issue, eroding profits with no legal recourse. Degzy compares two of his films: The Griot turned a profit, but Asiri Ade, despite stronger storytelling, struggled due to illegal distribution. Bello adds that this constant threat makes filmmakers hesitant to take creative risks, as the financial fallout from piracy can be devastating.
A surprising insight emerges: the size of a film’s premiere significantly affects its cinema showtimes. Degzy explains that theaters allocate more slots to films with large, high-profile launches, as they signal audience interest. A modest premiere can limit a film’s run, adding pressure to already tight budgets. This dynamic forces filmmakers to prioritize splashy events, diverting funds from production.
Degzy and Bello explore what drives revenue in Nollywood. Cinema releases offer immediate returns but demand heavy promotion, while streaming platforms, once a reliable outlet, have scaled back, leaving distribution (rated 3/5) in flux. Bello highlights a proposed ₦100 film distribution model that could expand access to grassroots audiences, though it remains untested.
Nollywood boasts a strong talent pool (4/5), with skilled actors, directors, and cinematographers, but training resources are scarce. Infrastructure (3/5) is improving, with better sound stages and post-production facilities, yet it lags behind global standards. Weak government support and inadequate piracy protections (2/5) further hinder progress, unlike more structured film industries.
Part of Shock Africa’s 11-episode series, this discussion, guided by Damilare’s incisive questions, offers a clear view of Nollywood’s complexities. Degzy’s veteran perspective and Bello’s fresh producer insights make their conversation a compelling exploration of an industry driven by passion but constrained by systemic issues.
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In Summary
Captain Degzy and Folakemi Bello reveal the financial and logistical struggles behind Nollywood’s big-budget films, from personal funding to piracy losses and the power of premieres. Their discussion underscores an industry battling to sustain its momentum. Stay tuned for Episode 6 of State of Nollywood Industry: Table Talk on Shock Africa, where more industry voices address key issues shaping Nigerian cinema’s future.
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