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Nollywood on YouTube has served us a lot of drama off-screen, with enough content for a satirical show of its own. The script gate, marketing bits, farming accusations, some filmmakers first being hesitant to jump into YouTube, more filmmakers dipping their feet into YouTube, some fans still looking down on the YouTube titles, etc. There is enough material for a proper show that pokes fun at all of these.
In all of this, there’s one part we often forget or don’t realise: not everyone on YouTube is making it, and dropping a film on YouTube doesn’t mean automatic high-flying numbers. There’s still a lot of work that goes into it, and that would still go into it, especially as more filmmakers begin to drop their films on the platform. It is currently saturated, and it might be about to get even more saturated. Okay, this is starting to feel like too much of my own thoughts.
Let’s see what the members of the Nollywood Film Club had to say about this in March. From them, we got a lot more mixed thoughts that tackled the topic from various angles and positions — from devoted viewers, casual viewers, to filmmakers and even an actor’s opinion — all forming thoughts that give a wide picture and might provide hints as to where Nollywood is headed.
We all agree that YouTube cannot be the ultimate solution in this period, in what Uchenna, one of the speakers, says “might be the bleakest it has been in terms of dissemination of Nollywood films in 30 years.” There are outliers that make it look like every film can hit big numbers. But the reality is that there are many other films and channels with not-so-enticing stats that would discourage you from trying to get into YouTube. And maybe that’s a reason not to put all your eggs into that unregulated basket.
During the open session discussion, they also touched on the place of Circuits and whether there is really a market where people are ready to pay for it.
Also, what are the expectations of our filmmakers on YouTube? Bolaji Ogunmola’s reaction to her dissatisfaction with the numbers she got for her YouTube series US made people question what the expectations are for these projects. Some saw it as marketing. Some saw it as annoying. Some saw it as both. But Bolaji Ogunmola claims it was neither.
What is Nigeria’s place in our arts? If the society is regressing, does it make sense that the arts are regressing too? Does it make sense that we then have to return to DVDs? Are we trying to evolve faster than the realities of our society? Will DVDs make people more conscious and deliberate about what they watch?
Lastly, what’s the place or fault of the Nigerian audience in all of this, a spirited Olanna asks. The hype for poor-quality films, stanship, etc. Are we all getting what we deserve?
My (not-so) key lesson: a lot of my own opinion is already in the opening paragraphs.
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