By Olamide Jasanya
He is no doubt one of Nollywood’s die-hard fans and he shows his love and passion for the industry via the kind of movies he makes in spite of the many challenges facing the Nigerian film industry. Despite having 19 years of experience, countless awards and about 200 movies to his credit, with all humility, Lancelot confesses to NET that he hasn’t done as much as he would love to, especially as regards breeding acting talents. In this interview, film-maker Lancelot Imasuen talks about his latest film, ‘Invasion 1897’, his passion for telling the African story and his preparedness to win an Oscar award in few years.
What inspired your latest movie ‘Invasion 1897’?
The year 2014 is a very important year in Nigeria, which is why a lot of unspeakable things are happening, Boko Haram being one of them. It is another year that questions the existence of the unity of Nigeria. I wouldn’t want the year to roll pass like that without giving everybody an idea of where we are coming from and where we are, because any nation that fails to understand these two things may be unable to forge a better future. The movie deals with the events that culminated in the invasion of the Benin Empire by the British. I wanted to tell that story from my perspective as an African, Nigerian and a Benin man. I wanted the world to see the injustice meted out on us, how our historical pieces and records were looted away and are now used as decorative items in their homes and museums. I wanted to make films about our past and how they still play out till present. Take for instance, the themes in the movie ‘Adesuwa’ are greed and lust, these two are still obtainable these days. A governor has served his tenure yet he will not leave – I’m referring to Tinubu. Oshiomhole is rounding up his tenure but wants to see who will take over. There is a region that thinks the presidency is their birthright… all these are issues I wanted to talk about.
You sound passionate about politics… do you have plans to get involved soon?
I’m a social crusader and commentator. When we see injustice, we recognise and talk about it. I use the arts as my tool to make these corrections.
When is ‘Invasion 1897’ due to be wrapped up?
We are at the very last stage of it. The world premiere will be in July in Benin, Edo State, and from there, we are moving to London, Lagos, Calabar and other places.
How much did it cost you to make the film?
I’m keeping mute on that. When you see it, you will evaluate it yourself.
How long did it take?
I’ve been on it from 2010 till date.
You mentioned that some artworks were stolen by the whites during the invasion. Are you looking at calling for a return of these works with your movie?
It is going to ignite a lot of awareness in that regard but my focus is to open another opportunity for people gifted in the craft of bronze making. I want to help them to understand that though the white carted away the ones made in the past, they were unable to steal the art from us. We are going to encourage the crafts men to continue. A lot of people still don’t know the importance of the craft. It was our own way of documenting our history, the same way the whites took and kept pictures of their presidents and kings. There is a lot attached to the artworks, so it won’t be a bad idea if they are returned and compensation paid for the way they were taken. We plan to organise exhibitions after every premiere.
You hold a record of having made about 200 movies in your almost 20 years of being a film-maker. How have you been able to do this?
I don’t like to think I have directed up to 200 movies. I like to think they are five because I have categorised my years in the industry into five and have a movie to show for each category. There was a period I knew I had the talent and craved for the opportunity to exhibit it, for this period, the movie ‘Yesterday’ comes to mind. There was a period where I gained a little popularity for my work, for this, I will choose the movie, ‘Home in exile’. There also was a time when producers began to line up to have me direct their movies – that would be ‘Games women play’. Of course, at the point I wanted to show people that Nollywood could give more than it was, I shot ‘Adesuwa’ and now that I have realized it’s time to go international, I have ‘Invasion 1897’.
How true is the story that the movie, ‘Adesuwa’, is enmeshed in crisis and that is why it is yet to be released?
Yes, that is true. The guy that I partnered with to produce the movie thought my life was dependent on the movie. My partner at that time felt cheated because the movie had my name on it and a lot of credit was given to me being the director of the movie. He expected that his name be called but in what capacity would it have been? I asked him. The young man started getting agitated. These things happen because there are no structures yet. A lot of people make agreements but don’t honour them and allow emotions to set in. Mind you, the film was finished, it was at the point where we were going to the cinemas that the crisis erupted and I left it and it died a natural death. It is painful because ‘Adesuwa’ was a product of totality.
Is there possibility of a reconciliation and an eventual release of the movie?
No, ‘Adesuwa’ is gone. We are on ‘Invasion 1897’, which is a lot bigger than ‘Adesuwa’ in terms of budget, scope and story. I have been on it for four years now.
Is there a reason most of the films you have produced have an inclination towards tradition and culture?
We should be proud of our own and we should be able to bequeath some legacy to the coming generation. It’s already a lost generation, value has been lost. That is why people get on social media and say a lot of things, this is because of the infiltration in our culture but there are certain things we shouldn’t let go. Our culture can be interesting, which is where I come in.
Which movie appeals to you most out of all you have made?
‘Yesterday’, because it brought me to limelight. It was then my revolutionary antics as a director came alive, because I got attention when I made bold to talk about the issue of rape, widowhood right and female genital mutilation. I employed the first person narrative technique which has never been done before by any director at that time. I also would add ‘Issakaba’ which, when I consider the energy with which I shot it, intrigues me. All the fight scenes were achieved live on set, because there were no computers to do it in graphics. It had five series and all were sold out. I feel if someone says today that some filmmakers be honoured, some names should be embedded in gold forever because of their contributions to film-making in Nollywood. The trilogy of ‘Games women play’ is also memorable and, of course, ‘Adesuwa’, because the budget I worked with to achieve the movie was very small but I thank God that everywhere we have shown it, it was appreciated.
An American movie, ‘Django’, was shot in 2012 and had the same title with your 2005 film. Have you thought of pressing charges in that regard?
The apparent lack of structure wouldn’t let me do such. The same thing happened to Teco Benson. He had shot a film about blood diamond before that of Leonardo DiCaprio. We couldn’t have taken such a leap because there are no facilities to help such arguments. Again, it wasn’t my film, I only directed it. We still operate within the confines of limitation. However, with the endorsement of the Academy Awards now, I think we will take more things seriously and one of such things should be the endorsements of our titles.
Of late, actors have been switching to become directors and producers, have you got plans to, perhaps, delve into acting?
I studied acting, it is my first love and what I studied in school, not directing. Let me add that my knowledge of acting has given me an edge in directing but it is not something I do or intend to do on a professional level. I’m too busy as a director to venture into acting. There is so much to give into your area before one starts to veer into other areas. Everybody knows me as a film-maker so I will just concentrate on that.
You have over 200 movies to your credit, yet you haven’t won an AMAA as Best Director. Do you think there is foul play somewhere or you don’t think you deserve it yet?
That will be selfish of me to say. In 2006, I was the only film-maker that had two directorial nominations for two different films. We don’t know what happened but I didn’t win. I am not somebody who believes so much in the awards system in Nigeria. Check the Nollywood people that have been given National honours in Nigeria, how many genuinely deserve it? If an Amaka Igwe is called for a national honour, it goes with a loud applause because of her worthy contribution, like the platform of the BoB TV for instance. The award system in Nigeria has never been a yardstick to measure my ability or what I deserve because before they start it, they have bastardised it. More people seem to be valuing awards that come from outside more than within because it may not have gone through the right channel. That is not to say they haven’t done anything but they can still do more.
Of the five movie-inclined awards, which makes the mark for you?
We will leave that. Because of the kind of society we live in, I will not mention names. I have won over a hundred everywhere around the world.
Every Nigerian film-maker dreams of one day getting an Oscar, do you and how close are you to getting it?
Yes, I do and thank God they just set up a committee for the selection process in Nigeria. Although I have my reservations about some of the members of the committee that notwithstanding, immediately the announcement was made, I set my machineries in motion knowing that this is the period, we are going to get the award.
What is your opinion about the committee members of the Nigerian Oscar Selection Committee?
My mouth is sealed because I am not a member of the committee, I don’t know the criteria with which they were chosen but I have reservations about some of the names there, sincerely I do.
