ASM: You compared the web series to hip hop in its infancy. Can you explain why?
MA: When hip-hop first started, record companies would not support it so independents would sell out of their cars, at the beach and at the clubs. Eventually, the people got behind hip-hop and made it successful, forcing record companies to get behind it, so they jumped on the bandwagon. All of a sudden, they majors started opening rap and hip-hop divisions to lure and develop talent. If you think about it, the web series is being perceived the same way. The major networks and studios, with few exceptions, aren’t taking it serious. Like rap, they see it as a fad rather than a trend. They think it will go way and probably want it to because it threatens a decades-old way of presenting visual content which is in 30, 60, 90 and 120 minute increments depending if the platform is tv, theater or film. Today, with few exceptions, the web series tends to flow in three, six, nine and 12 minutes-and-under increments. It’s much shorter than anything were used to viewing as “normal” visual entertainment. That sort of disrupts the status quo and has led to a lot of “traditional media makers” dissing the genre altogether as irrelevant and trying to make the focus about how lucrative the web series is rather than on the creative challenges it presents. Think about it. Most tv shows and films don’t make money. Most plays fail. There is no money in short films. But people still make them. You don’t hear the industry asking it’s talent, “Why are you making an independent feature? You’re not going to get theatrical distribution”, “Why are you mounting a play. You’re probably going to lose your shirt”. Only with the web series is “How much money are you going to make?” the central question from Traditionalists. To me, that either shows a lack of knowledge of this new medium or a fear of the medium and what it represents to the balance of power in media and the fact that traditional gatekeepers (i.e., TV networks and studios, and film studios) aren’t controlling the majority of the content being made. Sometimes, when you can’t control or regulate something, they tend to marginalize it until they can figure out a way to do so—just like rap and hip hop music were marginalized until major record labels opened their own divisons.
ASM: What would you say about this concept that “product relevancy is one of the keys to sustainability in the new market economy?”
“….Great movies can be made because I think the film industry will play a huge role in defining Africa in the 21st century….”
MA: Content is king. When there is content, there is market for it on television or film from Asia to Africa. For example, web series will soon be shown on tv in Europe. This opens up a new market for the content that most web series makers in America, including myself, never even considered. This provides a lucrative alternative to the lack of creativity and vision most media presenters in America have when it comes to how to monetize the web series. If you can make some money overseas, you stop thinking about what America isn’t doing to take advantage of the financial potential of this genre. You make your product domestically knowing you can take it overseas to make some or all of your budget back. Some web series makers might even see a profit once this market opens up. There is a bigger world to sell our content that extends beyond America, which is a good thing, and we content creators must always keep that in mind.
ASM: How does Hollywood assess and address other emerging cultural tastes?
MA: Not very well. Hollywood is very myopic when it comes to portraying other cultures on both the big and small screen. They are not living in the real world, which is probably why it’s called “Hollywood” (lol). When it comes to film, for example, it’s tough for Black films and films dealing with people who aren’t White to get national theatrical distribution. It almost never happens anymore. If Spike Lee were getting started today, all of his films would probably go straight to dvd. When it comes to television, it’s just as bad if not worse. You don’t see tv shows that deal with any other culture than White culture. TV has, in my mind, even regressed. In America-- except for B.E.T. (Black Entertainment Television) and three cable programs that were initially independently made by Black men (Tyler Perry, Chris Rock/Ali Leroi and Bentley Kyle Evans)-- there is not a single narrative show on the major networks or cable featuring people of color as lead characters or focusing on families of color. It’s as if “diversity” has suddenly become a bad work. The more America is becoming a melting pot of ethnicities the more America seems to want to turn back when it comes to how it portrays society. Think about it—America has a Black President but not a single show featuring a Black man or woman as the lead character. How ironic. And sad. And that is a major reason why the web series is gaining so much traction, especially with people of color. .
ASM: What similarities if any, are there between the African and African American movie industries?
MA: They are both under financed. However, the Nigerian movie industry, to me, has a huge advantage because it has the support of an entire nation that wants to see itself portrayed in every possible light. Nigerian filmmakers that I have met, both here in the states and in Nigeria when I visit home, are ferociously committed to excellence. They want to make films that will win Oscars one day and put a spotlight on what is happening in Nigeria—the good and the bad. And the whole country seems to be behind the movie making movement. It is astounding the number of films that are coming out of Nigeria. It Nollywood is now the second or third biggest producers of films in the world—the entire world. And in such a short period of time-- under 20 years. That’s astounding. But it also shows what it possible when a nation gets behind an idea which, in Africa’s case, is to tell its own stories. The African-American filmmaker has it a lot rougher because America is not a Black country and is not clamoring to see those stories get told. So the Black American filmmaker is operating more as a lone wolf, finding money where s/he can and trying to get the majority culture to pay attention and find relevancy in Black stories—something the Nigerian filmmaker isn’t burden with. In both cases, they need to raise money to make their visions into realities. With Nigeria on the rise when it comes to moviemaking, I feel African-American filmmakers should find ways to connect with their African brothers and work together to make great films that deal with both cultures. Great movies can and will be made because I think the film industry will play a huge role in defining Africa in the 21st century.
ASM: The African movie audience seems to be growing bigger and bigger each year. How can the African movie industry maintain its relevancy and keep interest growing?
MA: By making good films and continuing to take chances. The industry will have no other choice but to grow because most people want to watch good films. What I find is so cool, when it comes to Africa and its budding film and tv industry, is that young people now grow up wanting to be doctors, lawyers, accountants, nurses, actors, directors, writers and producers. The film and tv industry has expanded career choices, which I think is great because when I was growing up those extra choices weren’t there because there was no film and TV industry in Nigeria. I truly believe that this industry will help elevate and repair the image of Africa domestically and around the world.
ASM: Aside from the web series, what other projects are you working on?
MA: I am a writer on the cable TV comedy Love That Girl starring Tatyana Ali and Phil Morris. I am also a writer, director and producer on the award-winning music documentary TV series, Unsung. The show is very entertaining and profiles musical artistes like Ray Parker Jr., Donny Hathaway, Denise Williams, The Spinners, Phyllis Hyman—acts whose music you know, you just don’t know there individual story. I am also currently taking advantage of my extensive TV writing and producing experience to adapt my web series, “Who..”, which airs on my web channel Ajakwetv.com and Ajakwetv.com/mobile, into a traditional half-hour TV comedy series. Reverse engineering, I call it (lol).
ASM: What is your AfroStyle?
MA: I think my AfroStyle is my ability to adapt to any environment and still bring my real self to the party. My real self being that I see myself as both an African and African- American, despite how others of either ilk might perceive me or want to behave. I will always be me which, to me, is my AfroStyle.
By Amaka Onyioha
Iz Agu
Photography by Jason Maddox
MA: When hip-hop first started, record companies would not support it so independents would sell out of their cars, at the beach and at the clubs. Eventually, the people got behind hip-hop and made it successful, forcing record companies to get behind it, so they jumped on the bandwagon. All of a sudden, they majors started opening rap and hip-hop divisions to lure and develop talent. If you think about it, the web series is being perceived the same way. The major networks and studios, with few exceptions, aren’t taking it serious. Like rap, they see it as a fad rather than a trend. They think it will go way and probably want it to because it threatens a decades-old way of presenting visual content which is in 30, 60, 90 and 120 minute increments depending if the platform is tv, theater or film. Today, with few exceptions, the web series tends to flow in three, six, nine and 12 minutes-and-under increments. It’s much shorter than anything were used to viewing as “normal” visual entertainment. That sort of disrupts the status quo and has led to a lot of “traditional media makers” dissing the genre altogether as irrelevant and trying to make the focus about how lucrative the web series is rather than on the creative challenges it presents. Think about it. Most tv shows and films don’t make money. Most plays fail. There is no money in short films. But people still make them. You don’t hear the industry asking it’s talent, “Why are you making an independent feature? You’re not going to get theatrical distribution”, “Why are you mounting a play. You’re probably going to lose your shirt”. Only with the web series is “How much money are you going to make?” the central question from Traditionalists. To me, that either shows a lack of knowledge of this new medium or a fear of the medium and what it represents to the balance of power in media and the fact that traditional gatekeepers (i.e., TV networks and studios, and film studios) aren’t controlling the majority of the content being made. Sometimes, when you can’t control or regulate something, they tend to marginalize it until they can figure out a way to do so—just like rap and hip hop music were marginalized until major record labels opened their own divisons.
ASM: What would you say about this concept that “product relevancy is one of the keys to sustainability in the new market economy?”
“….Great movies can be made because I think the film industry will play a huge role in defining Africa in the 21st century….”
MA: Content is king. When there is content, there is market for it on television or film from Asia to Africa. For example, web series will soon be shown on tv in Europe. This opens up a new market for the content that most web series makers in America, including myself, never even considered. This provides a lucrative alternative to the lack of creativity and vision most media presenters in America have when it comes to how to monetize the web series. If you can make some money overseas, you stop thinking about what America isn’t doing to take advantage of the financial potential of this genre. You make your product domestically knowing you can take it overseas to make some or all of your budget back. Some web series makers might even see a profit once this market opens up. There is a bigger world to sell our content that extends beyond America, which is a good thing, and we content creators must always keep that in mind.
ASM: How does Hollywood assess and address other emerging cultural tastes?
MA: Not very well. Hollywood is very myopic when it comes to portraying other cultures on both the big and small screen. They are not living in the real world, which is probably why it’s called “Hollywood” (lol). When it comes to film, for example, it’s tough for Black films and films dealing with people who aren’t White to get national theatrical distribution. It almost never happens anymore. If Spike Lee were getting started today, all of his films would probably go straight to dvd. When it comes to television, it’s just as bad if not worse. You don’t see tv shows that deal with any other culture than White culture. TV has, in my mind, even regressed. In America-- except for B.E.T. (Black Entertainment Television) and three cable programs that were initially independently made by Black men (Tyler Perry, Chris Rock/Ali Leroi and Bentley Kyle Evans)-- there is not a single narrative show on the major networks or cable featuring people of color as lead characters or focusing on families of color. It’s as if “diversity” has suddenly become a bad work. The more America is becoming a melting pot of ethnicities the more America seems to want to turn back when it comes to how it portrays society. Think about it—America has a Black President but not a single show featuring a Black man or woman as the lead character. How ironic. And sad. And that is a major reason why the web series is gaining so much traction, especially with people of color. .
ASM: What similarities if any, are there between the African and African American movie industries?
MA: They are both under financed. However, the Nigerian movie industry, to me, has a huge advantage because it has the support of an entire nation that wants to see itself portrayed in every possible light. Nigerian filmmakers that I have met, both here in the states and in Nigeria when I visit home, are ferociously committed to excellence. They want to make films that will win Oscars one day and put a spotlight on what is happening in Nigeria—the good and the bad. And the whole country seems to be behind the movie making movement. It is astounding the number of films that are coming out of Nigeria. It Nollywood is now the second or third biggest producers of films in the world—the entire world. And in such a short period of time-- under 20 years. That’s astounding. But it also shows what it possible when a nation gets behind an idea which, in Africa’s case, is to tell its own stories. The African-American filmmaker has it a lot rougher because America is not a Black country and is not clamoring to see those stories get told. So the Black American filmmaker is operating more as a lone wolf, finding money where s/he can and trying to get the majority culture to pay attention and find relevancy in Black stories—something the Nigerian filmmaker isn’t burden with. In both cases, they need to raise money to make their visions into realities. With Nigeria on the rise when it comes to moviemaking, I feel African-American filmmakers should find ways to connect with their African brothers and work together to make great films that deal with both cultures. Great movies can and will be made because I think the film industry will play a huge role in defining Africa in the 21st century.
ASM: The African movie audience seems to be growing bigger and bigger each year. How can the African movie industry maintain its relevancy and keep interest growing?
MA: By making good films and continuing to take chances. The industry will have no other choice but to grow because most people want to watch good films. What I find is so cool, when it comes to Africa and its budding film and tv industry, is that young people now grow up wanting to be doctors, lawyers, accountants, nurses, actors, directors, writers and producers. The film and tv industry has expanded career choices, which I think is great because when I was growing up those extra choices weren’t there because there was no film and TV industry in Nigeria. I truly believe that this industry will help elevate and repair the image of Africa domestically and around the world.
ASM: Aside from the web series, what other projects are you working on?
MA: I am a writer on the cable TV comedy Love That Girl starring Tatyana Ali and Phil Morris. I am also a writer, director and producer on the award-winning music documentary TV series, Unsung. The show is very entertaining and profiles musical artistes like Ray Parker Jr., Donny Hathaway, Denise Williams, The Spinners, Phyllis Hyman—acts whose music you know, you just don’t know there individual story. I am also currently taking advantage of my extensive TV writing and producing experience to adapt my web series, “Who..”, which airs on my web channel Ajakwetv.com and Ajakwetv.com/mobile, into a traditional half-hour TV comedy series. Reverse engineering, I call it (lol).
ASM: What is your AfroStyle?
MA: I think my AfroStyle is my ability to adapt to any environment and still bring my real self to the party. My real self being that I see myself as both an African and African- American, despite how others of either ilk might perceive me or want to behave. I will always be me which, to me, is my AfroStyle.
By Amaka Onyioha
Iz Agu
Photography by Jason Maddox