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What influenced your decision to produce the movie, ‘October 1’?
The script was written by Tunde Babalola. I gave him a brief and he came up with a story which was supposed to be centred on a small community. In the treatment, it was supposed to be so, but in the larger picture, it was not a small story. It was a period piece and doing period pieces require a lot. I asked him to develop the full screenplay. After that, we tried to develop the story and I gave him a few of my own input. That was what brought about it. But the main reason I accepted it was because a lot of people have not really done period pieces in the country. They do normal and conventional day-to-day stories. I like to do things that are challenging and different. Documenting our culture and who we are as Nigerians has always been my priority.
What lessons are there to learn from period pieces and epic movies?
The younger generation would have an idea of what the country looked like before they were born. They learn the cultures, looks and ways of talking while the older generation would have a reflection of their youth and where they are coming from. Generally, it holds a lot of values for us as human beings.
Do you develop the concepts for period pieces yourself or pay a researcher?
Immediately I get treatments, I start researching and watch clips and footages or archive materials of that period. I start digging deep into what the costume used to be like and buy some of the props. I have props managers and production designers but when you do all of these and also engage the professionals, you all would be on the same page. Whatever you share with them is what they would develop. As a director, I am involved in every element of production.
Do you think the dreams of Nigeria’s founding fathers have been lost?
Personally, I know that the movie would start a lot of debate —of where we are, what we have done right or wrong — and that is what excites me. I do not make movies just for people to watch and forget about them. It would cause some of our fathers to make amends in some areas.
How would you defend the controversy that could arise from painting the picture of a Catholic priest defiling young boys?
There is nothing to debate on because it is a global topic. Even the church heads have come out publicly to apologise. I know it would raise debates but the fact that we shy away from that does not mean that they do not happen. We would not say that some people should lock themselves up in a room and do evil things, all because it is tied to religion. For me, that is one of the bold steps I took with the movie. We are not pointing fingers, but we just said these things happen and people should take precaution.
Why did you leave the banking industry to go into movies?
I worked in the bank for seven years. I left because I realised it was time to do what I had a passion for. I am more of a credit person and I did a couple of movies even when I was working in the bank. I had always had it in my head to make films and tell stories. All the experiences I got in the bank were put into use in the running of my production company. I worked with the corporate affairs division in the bank and it exposed me to brand association.
How did you balance your time between working in a bank and acting?
The movies I did were during the times I was on leave and I never did more than two films in a year. When it was time, I left to pursue my dream.
Did you know you would go into the industry when you were young?
I did not know. I lived as a normal boy. As a child, my dream was to be a pilot. But a lot of things determine such dreams. We were many in my family and we did not have the luxury of attending private school. We all went to public schools. I was passionate and being someone who had learnt the film business right from childhood, it helped me a great deal. I learnt from my father indirectly. I was like an agent between my father’s production company and the people who wanted to rent the films. He did not give me money when I came back and through that, I also learnt how to do ticketing and propaganda (as it was called then) and how to operate cinema projectors. That opened my eyes a lot. But on the creative side, it was inborn.
What was growing up like?
Growing up was normal. I am the seventh child out of 25. It was a polygamous family. I did my primary and half of secondary education in Lagos and finished in Kwara State. I had a Higher National Diploma in Business Administration from the Lagos State Polytechnic. I was a normal boy who grew up in busy areas. The best way to tell a story is to look at things around you. That way, you can create a story. Most times, my mother was on tour with my dad and it was just me, myself and my brother and some of my cousins. It opened our eyes to the two sides of life. Our father was famous but it did not make us children of a rich man. He was more popular than his money. We had to struggle to be somebody.
How do you balance your time between work and your home?
I have been able to do that successfully. My family is still intact and they have not left me yet. When it is time to work, I work and when it is time to play, I do.
What was the talk about you leaving the country?
My experience in shooting ‘October 1’ was what frustrated me about this country. I am still holding on to my decision. I did not say I would leave but I said it is better to live a quality life out there and come back here to work. My profession allows me to work anywhere. I just do not want to die young. I would prefer to go to a saner area where I can function and live a quality life — just have the basic needs of life without having to spend too much.
What informs your dress sense?
I like to dress as simple as possible. Events determine what I wear at any time; I like to be comfortable and I do not go with brands. Fabrics do not have to be ridiculously expensive for me to wear them, as long as they look good.
How were you able to carve a niche for yourself in the industry?
I am passionate about what I do and I am dedicated to my work. I do a lot of research and I dream projects. The only thing that can stop me is not dreaming. Once I dream about a project, it must come to pass. I pay a lot of attention to details. I spend a lot of money on production and a lot of people cannot take such risks. I am a risk-taker. For me, the content comes first before the distribution. It may not make good business sense but the art and my passion are what push me.
Do you see Nollywood as number one in the world in future?
I cannot speak for the industry; I can only speak for myself. We cannot collectively decide where the industry will go. Everyone is operating in their own capacity and style. If your work is good, it would take you places. If you want to stay low, you would get the result as well.
Would you encourage your children to go into the movie industry?
If that is what they want to do, I would encourage them.
How do you handle female fans?
My wife’s picture is always everywhere. I am married and I have kids. I flaunt them when necessary but I like to separate my family from my work.
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