How Distributors Wrote Off Black Rose – ‘The Oracle’ Okey Oku

After you hear filmmaker, Okechukwu Oku speak, you are bound to agree with him that he has really strong instincts that hardly fail him. Two points in case are his decision to make Enugu, in eastern Nigeria his base in spite of the attractions of Lagos and production of Black Rose, a film, which was initially written off by major film distributors in Nigeria as not going anywhere. In this interview with eelive.ng, the Enugu born filmmaker, talks about the motivation behind the project, challenges, expectations as well as the solution to the distribution problem in the Nigerian film industry.

Lagos is the happening place for a filmmaker to be in Nigeria, why did you make the decision to be stay here in Enugu? 

Lagos for sure is the hub of business in Nigeria and everyone would love to be there. I wouldn’t be wrong to say that Enugu equally harbours large volumes of film productions, possibly more than Lagos does.

It really doesn’t matter where one stays in terms of production although when it comes to the business of filmmaking, Lagos shines through. I love Enugu for many reasons, its serenity, slow pace and affordability.

It’s also the best place, in my view to raise my family. I would love to expand to Lagos though.

So how is that working for you? Is there anything you think you are missing out?

It’s been an amazing experience so far in Enugu and continues to, as we are faced with so many expectations and deliverables. I would say I’m missing out in the business aspect and the exposure that Lagos offers.

You are one of those few people who have capacities in several areas of filmmaking, how does this help your art?

It does help perfect my art, having the knowledge and experience in various areas of filmmaking, although quite daunting sometimes.

Being a director, cinematographer, editor, colorist and sound designer helps ensure that those aspects of filmmaking receives the most needed attention even when I hire people in those departments. The awards I have received so far from various film festivals validate this claim.

You decided to start directing your own films in 2013, what led to that decision and looking back, does it make you happy/fulfilled? Do you think you should have done it earlier?

I believe I started at a perfect time. I waited to acquire vital experiences in filmmaking before making the decision to produce my own films.

Before then I had produced and directed for other clients, a process I consider my training ground but nevertheless, I gave birth to projects that I am proud of.

The likes of Love and Oil, Burning Bridges and others are some of the projects I did for other clients that came out blazing. I am proud of my work, the old and new. The older ones I would do better if given the opportunity to redo but that’s life, we grow into perfection.

Let’s talk about the things that dictate the stories that you decide to shoot, what are you guiding principles?

I love stories that touch people’s lives. I love science fiction and action movies a lot but as a filmmaker, I’m more passionately drawn to stories that address ills in society and challenges moral decadence.

No matter the genre, these are my guiding principles. This is what led to the movie Black Rose. I love stories that are relatable and believable even when fused with humour and/or suspense.

I understand that you had challenges getting your film Black Rose into the cinema’s do you want to discuss what happened and how you surmounted this challenge?

The journey of Black Rose is a long one but I will try to make it short and simple. Black Rose was shot 2015 with no intent to show at the big screen; but a determination to do something different. Circumstances beyond my control delayed the release until cinema became the thing so to speak.

In 2018, watching the movie after production, I was convinced we had made a great movie and as such deserved the big screen. Sadly all the mainstream cinemas and distributors thought otherwise. We didn’t have the faces/actors and funds needed to push the film to success, plus the story wasn’t commercially viable, I was told.

We decided to hold a paid preview of the film in Enugu and what we experienced at the event propelled me to attempt the big screen again.

Luckily Mr Gibson of Cartege cinema Asaba, having watched the film, loved it and gave the movie a chance on the big screen, the rest was history. This singular opportunity gave Black Rose the audience it deserved and propelled it to the mainstream on a limited release. 

Let’s talk about the way cinema’s operate in Nigeria as against the roles they can pay in changing the current state of things, because a lot of people believe that distribution is the weakest link currently, are you satisfied with how the cinemas are? What do you think should change?

I’m not an expert in distribution so I would only give my opinion based on my understanding of the situation. There’s a fundamental problem in the movie industry as a whole and this has affected the cinemas and distribution.

A lack of adequate support and solid copyright laws from the government plays a major role.

Secondly Nigeria is a dynamic and multi cultural country. This is evident in the types of film and actors from various regions. As such, the demand for much more distribution sites.

The existing cinemas are doing well amidst these challenges but still not enough. Most sites are in lagos with few or none in other regions. I believe the narrative is that ‘that’s where the market is’. That is because most movies that appeal to one region don’t appeal to others.

I believe recently movies have broken this barrier. And this is as a result of an understanding of the diversity that exists in the country. Such movies can only be funded by studios. Funding then is another major problem.

How did Black Rose get on Netflix?

It got on Netflix through FilmOne distribution.

Now the film is doing so well to the extent that it got on Netflix America in January 2021, how does this make you feel?

I get emotional any time I see how successful Black Rose has become.

Having suffered rejection from different platforms in Nigeria, I’m glad that Black Rose has changed the narratives moving forward. I see hope for bigger things.

Do you think streaming platforms like Netflix might be a good alternative to the cinemas?

It’s an inevitable change happening already with the scare of the pandemic all over the world. Streaming services are unaffected and is growing stronger.

So, sitting right here in Enugu, your film has travelled across the world, would you advise other filmmakers to come join you here? What would be attraction? Like do you get any support from the state government?

Black Rose has done me proud. I rephrase, Black Rose has done Enugu State proud and deserves more from the state government than its getting. I was born and lived all my life here in Enugu so Black Rose deserves more recognition. This will motivate other filmmakers to do more in the state.

Finally, who is Okey Oku? What are the things that patterned the man that we see here today, what are you aspirations for the future?

Okey Oku is a 44 year old multi talented young man resident in Enugu. A father of 4 and husband to the best wife ever. C.E.O. of Pure Sound and Visual Technology, a production and distribution company with registered office in Enugu.

I have put over 20 years into the music industry before my journey as a filmmaker. And I have trained and mentored so many big names in the industry, music and film alike, produced over 20 films with multiple awards to my name.

I love music and film and I love perfection. My aspiration is to launch a streaming service and help bridge the divide between producers and exhibitors in the industry. Good films shouldn’t be allowed to die due to politics.