The politics of sorcery between Nollywood-Hollywood by Acheme Ramson

When Nollywood movies are juxtaposed with Hollywood it gives a ridiculous feeling. Hollywood productions always appear more excellent in terms of picture quality, exquisite storylines, great casts and brilliant concepts. Viewers would praise American movies for their themes which often revolve around justice, glory, enlightenment and freedom cause. On the other hand, Nigerian movies receive heavy criticism for portraying traditional contents such like our indigenouspractices and belief systems. Many don’t hesitate to scream, ‘Nigerian movies are full of magic and evil deeds’. Have these wailers ever thought that movie is a universal medium of telling a society’s story? Nollywood and Hollywood tell amazing stories of their societies in the best ways they can.

The miss-en-scenes of American movies maybe great but that do not change the fact that they reveal clearly how Western society was and is. The Game of Thrones shows vividly the ‘super horrible’ things which pervade the Western society. The Game of Thrones romanticizes all sorts of unimaginable atrocities humans ever committed on earth: black magic, hypocrisy, betrayal, backstabbing and debauchery. Other deplorable acts seen in Game of Thrones are incest, cannibalism, regicide, filicides, and occult practices. Parents shamelessly betrothed their underage daughters into marriage; lords skinning their offenders flesh and impaled on trees. This ‘fine’ movie certainly did a great job in revealing the rot in a so called advance society which often refers to African society as diabolic. At least we know where the word barbaric originates from.


Great Nollywood movies like “saworoide”,“Igodo”, etcetera, did not receive much appraisal like the foreign epic movies. These movies with great storylines were tagged “demonic” by the naïve local viewers who could not understand the socio-cultural connotation of our local movies. Nollywood filmmakers are shying away from such kind of epic movies to avoid criticism, they don’t have to. It’s our story and has to be told. We have seen worse from Western videos. There are lots of our stories echoing in muffle voices to be heard, for instance, the Afonja-Alafin struggle, the rise and fall of the Jukun Kwararafa Empire, the Owu-Egba war, and many more would stir a stream of consciousness in our society. Nollywood, give us more!

A Better Family; A Must See for Young Couples by Acheme Ramson

It takes two to play the game; it takes two cool heads to build a better family. Good marriage is not guarantee for all, couples need to work at it all the time, and this is what we learn from ‘A Better Family’ where two family lives were juxtaposed to show viewers how young couples could improve on their marriage. Lauretta’s (MaryAnn Nweke) lackadaisical attitude drives her husband Charles (IK Ogbona) to the arms of another woman and things went awry, their matrimony was threatened severely.  The other couple who seems to have a perfect home also had their rough moment; though the difference was how they resolve it. Nick (Frederick Leonard) and Lizzy (Nancy Isime) were not only a good match for their look, they value each other and constantly make effort to give their best into their marriage. Both confessed the other spouse is the centre of their life.  They didn’t just profess their love for each other, they live it.

With these kinds of movies I think we have the right template for our society. Thanks to the new set of Nollywood filmmakers.

Trouble Comes to Town; Young Couples must see this – Acheme Ramson

Considering the short attention of young viewers and the barrage of movies the market churns out every day, local movie directors have to wear their creative cap every time. Nigerian filmmakers are now beginning to sit tight after realizing how important it is to make a ‘good film’. Themed on a true test of marriage, “Trouble Comes to Town” is centered on the life of Bernie and Lauretta, a young couple who could not resolve their differences. After four years of marriage with a kid, this comfortable couple went astray, bantering and insulting each other at the slightest provocation. Lauretta was a spoilt daughter of a billionaire who is dirty, sluggish and careless. She wouldn’t shower for days and leave the house littered in utter disarray.  Despite her annoying lifestyle, she never cheats on her husband. Her irritating lackadaisical attitude wells up strange anger in Bernie who gave up on her and seeks separation. Bernie was not mature enough to resolve their differences until Mike came into the house to show both how to love ones’ spouse. Nollywood is unequivocally coming out of the wood.  

Diary of a Lagos Girl: Another Good Job – Acheme Ramson

It is the dream of every urban girl to marry a rich, handsome, god-fearing and nice guy. While nothing is wrong with this wish, it is rare to find all these qualities in one guy. A good guy who is rich may not be ‘fly’ or ‘cool’ the way the lady wants. Abimbola and her friends are educated beautiful single ladies who hoped to find their prince charming by every means. She was threatened by a familiar nightmare where she sees an old maiden struggling to get marry. Believing the dream to have impact on her life, “Bim”, as she loves to be called, was restless and almost falls for the wrong guys in desperation.

When Bim (Dolapo Oni) met her Mr. Right (O.C. Ukeje), she was not impressed and tries to avoid the down-to-earth guy. While sharing her thoughts with her pretty friend about her dream man, they came up with a sign from God to reveal her prince charming. That guy should present her gari as a birthday gift. This weird wish turned out well, though, not without a series of heartfelt drama.

Jumoke Olatunde demonstrates she knows her onus by weaving together nightmares, flashback, meaningful dialogues, and pleasant scenes. The movie is original and unique as it did not attempt to imitate any prior movie. Diary of a Lagos Girl is packed with comic relief, artistic dialogue, great storyline and dramatic irony. The animation sequence at the opening scene is a good concept which will attract all kinds of viewers including children. The picture quality is also good, except for poor sound and lighting which almost mar some scenes. The continuity escritoire certainly did a good job for the well connected scenes. The presence of Liz Benson, now Liz Ameye, catches the attention of mature viewers.

Diary of a Lagos Girl is a must watch for all urban young girls who got love and marriage all twisted. The message is simple; not all that glitters is gold, better still, never judge a book by its cover because you might end up picking the wrong one.

The Wedding Party Final; what is the Gist? – Acheme Ramson

The Wedding Party Final will attract many viewers because it sounds like a continuation of “the Wedding Party” yet it has a different storyline and different casts except for Adesuwa Etomi. While I hate to point at errors in movies, this one is full of many obvious flaws to be ignored. The technical crew did a nice job in terms of lighting and framing. The attempt at getting a nice soundtrack was not successful and the continuity secretaries could have done better by seeing to the abrupt ending of many scenes. The dialogue between the prominent actors (Simon, Daniel, Cindy and Deji) starts and ends abruptly- they are too staccato. For instance, an expression between Simon and Daniel; “you mean you didn’t make move on the girl?” asked Daniel. Simon “what do you mean?” and the scene went to the next one. There was no facial expression, no body language or other body movement.

The idea behind the movie appears too childish and the actors look too amateurish. For example, Nneka was in the studio recording and the film was on silent effect to the viewers. At a point I couldn’t help wondering when has Nigerian fans start asking music stars to sign autograph on novel. Cindy’s fans in the bar could have request for a selfie with her not an autograph on anonymous novels. Again, Cindy’s hatred for men was a result of childhood trauma after seeing her father brutalized her mother, but there was never a clue to Simon’s hatred for women. Producers of ‘The Wedding Party Final’ could have chosen another name for it.

Many things just don’t seem right about the movie. Deji the sensational journalist who snoops around Simon even sold the movie out. We can go on and on with the flaws but it is not my aim to discourage viewers we just want movie makers to take precaution while doing their job. Lets us not also forget that the movie scores some credit in terms of picture quality, and the locations weren’t half bad. A bad production is better than none, anyway.

Movie Review: The Visit; A good script well acted by Acheme Ramson

Low budget, one location, four casts only, and yet a great movie. Two young couples living in same quarters appear to lead opposite lifestyle; one family lives an organized and orderly life while the other lives a care-free life.  From the opening scenes we saw a decent looking couple with the ideal home of educated middle class. Though some body language exhibited by the husband makes one suspect there is something fishy. The next act was on another couple looking outlandish and loosed. They appear to live a dirty life, booze, raw sex, weeds and lives in a disorderly fashion. Ajiri (Nse-Nkpe Etim) and Lanre (Blossom Chukwujekwu) were a typical uppity who live their lives as they dim fit. Their loud music, stench of weeds, and uncontrolled sex habit, freaked their ‘decent’ neighbour to an unbearable state. As their rapturous encounter resulted to breaking a window pane of their neighbour, both couples were forced to meet. This visit opened cans of worms that surprised both families.

Dirty secrets pop up each time they try to focus on the apple of discus. The dialogue turned out to be a family confession hour. Every point of discussion always leads to a shocking or dirty revelation. ‘The Visit’ is packed with suspense at every scene; a viewer will ask what next have these guys to reveal? The irony is that the couple who appears dirty was actually better than the saintly-looking guys. Though Lanre and Ajiri lives in a mess, they did not pretend about it, Eugene (Bhaira McNwizu Bayray) and Chidi (Femi Jacobs) lives a false life by pretending everything is perfect.

The drama grows interesting and the viewer gets excited each moment. Whenever the lot falls on a couple to wash their dirty stuff, the other family reconciles and laughs at them. This continues till it became clear Chidi and Eugene the so called decent couple, had the worst secrets. Invariably, whenever it seems both party are making up, something will break the bubbles and another round of tantrums unfolds.

Biodun Stephen who is the screenplay writer and storywriter is certainly familiar with the life of young middle class; their language, dressing, choice of cars, furniture and habits were properly depicted through the quadric thespians. One can safely conclude that Nigerian screenwriters have come of age. With a movie like ‘the Visit’ the bar has been raised. Local writers and film makers are now compelled to buckle up or face the strict scrutiny of critics.

The main texts of the movie are the repercussion of telling lies to ones’ spouse and living a fake life. Eugene thought living like western middle class is living a perfect life, she was wrong. Her faked life was to her own detriment. Her entire lifestyle is scheduled, food, sex, job, and even child bearing. Besides Eugene was a bad cook claiming to be trained in cosmopolitan cuisine, her food was disaster, she was not romantic and engages in boring sex she termed ‘civilized’ copulation. Her young husband Chidi played along with her by making it look like it is the kind of life he wanted too, but he couldn’t change his African nature. Chidi does not enjoy his wife’s cosmopolitan dishes, does not enjoy sex with her and above all, she was too boring. In return, Chidi went to Ada, his secretary for meals and comfort which culminated in them having children- twins!

Movie Rewiew: Queen of Katwe; From Slum to Spotlight by Acheme Ramson

A fourteen year old girl named Fiona brought a previously unknown Ugandan town called Katwe into a notable map in the world. A Country known for its former dictators Idi Amin and Milton Obote is now viewed in a new light from one very brilliant act of little girl raised in the slum of Uganda. The Movie, Queen of Katwe, based on true life story, tells the story of a girl with her struggling mother and siblings in a poor neighborhood. They had no father, feed from stale garbage-like food and could not afford western education. Fiona left with only her instinct and inquisitive mind soon discover a new sport, chess. Initially it was an escape route for her and her brother to socialize and have a free cup of porridge from the philanthropic and humanitarian coach Robert Katenda. Then the show became a light of hope for them as they start seeing prospect in the game of chess.

A violent-free movie takes great skill to catch a viewer’s attention at the opening scenes. The directors of Queen of Katwe,   are no doubt experienced film makers who can turn an ordinary situation into entertainment and create an empathic mood in a viewer’s mind. The story of an ordinary girl in Uganda called Fiona may appear on millions of screens it serves as tools for many causes. It serves as entertainment to many; and serves as an inspirational medium for many youths across sub-Sahara Africa; it is a campaign tool for the various movements advocating for the girl-child right across the globe and a good enlightenment film for a sport which is not so popular among developing nations.

The collaboration of the world famous Disney productions and ESPN Film did not only bring together good actors but also sent a message across black Africa to the destitute that there is hope, the sub-text of the movie could be said in the acclaimed aphorism “Yes, you can” to the African youths.

The movie directors narrowly escaped being bombarded by critics when they carefully clear some controversial racial issues through camera shots and movements. The ghetto scene where the scum live and breed was made a foreground of the affluent town as camera shots caught looming sky scrapers at the background. These clever shots saved the producers and film makers from African advocates who would say the entire movie portrayal of Africa is nothing but slums and malnourished people. In a subtle form, the producers of Queen of Katwe made a deliberate effort to attract attention away from the world acclaimed sport, Soccer, which has attain global cult followership, to a game enjoyed by a few. They achieved this by showing kids who fear they would sustain injury from playing football, and diverting their interest to a more noble sport which is not only safer but also present a promising future for them. Coach Robert Katenda’s football injury and the littluns’ fear of breaking bones, coupled with the coach’s rhetoric won the children to chess game.

The film makers also did not hesitate to remind the young viewers that, success, no matter the sports you play, demands had work and discipline. We were reminded that no victory comes cheap. Fiona was naturally gifted yet she had to work on her skill late at night and whenever the opportunity presents itself. In fact, chess became her mantra. In her state of penury Fiona and her brother made them an improvised chess board where they practice at home.  This frantic effort yield huge success by taking Fiona from a stinking Uganda slum to other country flying in airplane.

Queen of katwe

The Nigerian born David Oyelowo and the top model Lupita Nyong’o’s efforts was complimented by the bright teenage actress Madina Nalwanga. Camera shots and angles in the movie clearly reveals the professional prowess of the technical crew as they captured scenes of Lupita Nyong’o seating with her wares at the edge of  the beautiful lake Victoria. It looked like something done by a master painter. The area view shots and the topography added colour to the poor setting of Katwe. The originality and style of Queen of Katwe is one that many movie directors and film makers, especially in Nigeria, will soon start imitating.

It is observed that media effect from that movie has start having impact on the Uganda suburbs as U.S. rapper French Montana shot one of his latest music video in Uganda. We should expect many more of such soon, as lots of humanitarians will now chose Uganda for their pet projects. Believe me, the media effect is real.

Movie Review: The Wedding Party; a Movie of Class and Comedy – Acheme Ramson

Drama, they say, is a reflection of a society. The Movie, ‘The Wedding Party’ is a classic comedy which mirrors the contemporary Nigerian society. The movie tells the story of two families from two different ethnic backgrounds in contemporary Nigeria. Though both rich and comfortable, there were attitudinal display of pride and prejudice which threatened the holy matrimony of their son and daughter.

The mise-en-scene of the movie is superb, in term of actors, technologies, story line, and theme, ‘The Wedding Party’ is got all. The actors were a cross breed of entertainers from the performing arts, music, comedy, and directors were A-lists personae. Sola Sobowale and Richard Mofe Damijo, are two great actors and actress; Banky W and Ikechukwu are star musicians; Ali Baba Apkoremo and Ayo ‘AY’ Maku are ace comedians. The producers include multi talented and versatile Mo Abudu. There were also other experienced technical and production hands who know their onus, Steve Shodiya and the numerous technical editors gave the movie a worthy esthetics. Read more

iRep… Reawakening Consciousness Of Documentary Film

IN popular myth, the word documentary was coined by Scottish documentarian John Grierson in his review of Robert Flaherty’s film Moana, published in the New York Sun on February 8, 1926. Written under a pen name, The Moviegoer, Grierson’s principles of documentary were that cinema’s potential for observing life could be exploited in
a new art form. He opined that the original actor and original scene are better guides than their fiction counterparts to interpreting the modern world and that materials taken from the raw can be more real than the acted article.

On his part, American film critic Pare Lorentz defines a documentary film as a factual film, which is dramatic. Others further state that a documentary stands out from the other types of non-fiction films for providing an opinion, and a specific message, along with the facts it presents. It is described a filmmaking practice, a cinematic tradition, and mode of audience reception that is continually evolving and is without clear boundaries. It refers to what people do with media devices, content, form, and production strategies in order to address the creative, ethical, and conceptual problems and choices that arise as they make documentaries.

In Nigeria, the success story of Nollywood has increased the level of filmmaking, with a large number of youths getting involved in the act. While some of them pursue their film career as a passion, others see it purely as a means of livelihood. In this direction, little or no attention is being paid to documentary film, which is seen as ‘unattractive financially.’

Apart from foreign documentary films occasionally shown by some TV stations, Nigeria’s airwave is dominated with feature films. While accusing fingers could be pointed at the programmes department of TV stations for not venturing into documentary film production, the reality is that filmmakers of this era think less of documentary films, thereby forcing the stations to make do with feature films, which are readily available in different languages.

In a bid to reawaken the consciousness of documentary film in Nigeria, a group of film experts and enthusiasts instituted iRepresent International Film Festival (iREP). Since 2011 when the intervention project was launched, documentary filmmaking has greatly improved over the last years, with a number of youngsters showing interests in the genre.

“A typical example is Afrinolly partnering with us for their short film competition. Also, there are now several TV stations that are willing to produce more documentary films. This was not the case two/three years ago. This clearly shows the documentary film genre, with iREP at the helm, is growing and is attracting the right kind of attention from other relevant organisations,” Femi Odugbemi, the IREP director, said.

To Odugbemi, bringing back documentary film to the forefront remains the biggest gains of iREP since inception, adding that the project has provided a viable platform for the appreciation of the genre, especially among young filmmakers.

“They are more aware and have a better understanding of the documentary film genre; the excitement is palpable. We have filmmakers doing documentaries on a much larger scale and they in turn motivate their colleges to do the same. Most importantly, content of the work produced is inspiring; it shows that these filmmakers take away
relevant information from festival subjects/themes and encourages them to create works that attempt to define their world in a conscious, responsible and artistic way.”

However, to get more young filmmakers involved in making documentary films, Odugbemi pointed out the need to give them a clearer understanding of why documentary is important to them as artistes, as Africans, as the generation next of Nigerians.

“The very basic role of creating a film is to tell a story. The rule applies to documentary filmmaking as well. Content is key. Unfortunately, in Africa the manner in which documentary films were introduced to the public –– as a colonial tool for brainwashing –– has left a rather bleak and boring impression of the genre. However, this is changing. At iREP, we strive to emphasise that documentaries can do so much more. And this reflects in our choice of themes and subjects that are discussed in our yearly festivals.”

As for monetising the genre, like their counterparts in the feature film, Odugbemi noted that, “it is important for young people to also be able to monetise their skills. It is becoming more difficult every day for young artistes to do art just for art’s sake and it is rather impractical to expect such. A good example would be the Afrinolly
Short Film Competition; it was a success.

“Filmmakers created shorts films, entered into the competition with the knowledge that there would be a chance to receive some financial gratification for their efforts. Attaching some form of monetary reward will build enthusiasm, nurture healthy competition and give this emerging genre the growth that it needs.”

On the availability of documentary film market in Nigeria, the former ITPAN president observed that, “it is not yet strong enough to be felt economically, but with the rise in interest of young filmmakers, and challenging topics to be discussed, I am sure in the not too distant feature, the documentary genre will become a force to reckon with, economically, politically and socially.”

Now in it’s third edition, this year’s iREP International Film Festival is billed to open on March 21 and runs through March 24, at the Freedom Park, Lagos Island, starting from 9am. With the theme, Africa in self conversation and sub theme Reconnections, the festivals will also feature a cocktail events, which will serve as a platform for filmmakers to mingle and network with international and local filmmakers, who are expected to participate at the event.

“It would look at how Africans at home and in the Diaspora see or think about themselves and their identity and discuss the different impacts of western education; religious and economic value systems on the African socio-cultural life,” Odugbemi, the CEO of DVWorx Studios & Zuri24 Media said.

This year, the keynote speaker is Professor Awam Amkpa, Dean of African Studies at New York University and co-founder of the Reallife Documentary Film Festival, Ghana. Amkpa has directed film documentaries such as Winds Against Our Souls, It’s All About Downtown, National Images and Transnational Desires, and a feature film Wazobia! He is the author of several articles in books and journals on Modernisms in Theatre, Postcolonial theatre, Black Atlantic Issues, and Film Studies. Professor Amkpa will discuss at length the theme Reconnections, and its composites, spirituality, identity and economy.

Also, Prof. Niyi Coker, an E Desmond Lee Professor in the Department of Theatre, Dance and Media Studies at the University of St. Louis, will serve as Co-curator at the festival. Coker has served as Director for several professional theatre companies ranging from the National Theatre of Nigeria, to Malmo Hogskola in Sweden, Copenhagen, Denmark, Ghana and England. His Film writing, directing and producing credits include, Black Studies USA, which won Best Short Documentary at the 2005 Berlin Black Film Festival in Germany, 2007 Silver Remi Award at
Worldfest in Houston, and was Official Selection at the 2007 Hollywood Black Film Festival. Dr. Coker will speak extensively on identity. It is believed that the age-old question of what makes and African, African, will be explored as well as the social, economic and structural relevance outcomes.

The target for iREP this time is to facilitate relevant and productive conversations between local filmmakers and African filmmakers in the Diaspora, who are interested in engaging the African issues in their documentaries.

“We also seek, as part of our training programme, to extensively educate filmmakers on how to overcome primary challenges most of them face in the process of making their films and accessing funds. We will hold a pitching round table and filmmakers will be instructed on how to go about accessing funding from both local and International funding organisations,” he said.

Though challenges abound, for Odugnemi, it has been an interesting journey running iREP. “So far, iREP has successfully established itself as a platform, where emerging documentary filmmakers can find a voice that can be heard in the film industry. We have also created a great way for bringing filmmakers, both emerging and established together and channeling documentary filmmaking in a more positive way. We have trained young filmmakers with transferable skills that can be used for the making of both documentary and feature films. We have also facilitated networking of filmmakers that is international in focus that allows young filmmakers to form beneficial and knowledge enhancing relationships.”

On the other hand, it has also been a journey full of discovery, of trial and error in some parts, growth and satisfaction with the realisation of what the organisation has given back to the society. “We have made it this far and we are thankful, especially to our sponsors and benefactors in the arts and culture scene. Our biggest challenge is funding. The festival is primarily self-funded to date and we would appreciate more sponsors. We strongly believe that documentary films are the way forward in tackling Africa’s political, soci-economic issues and above all, a way to recreate the African identity and retell the African story from our perspective. We encourage filmmakers, producers, writers, and TV producers and students to come learn, experience and answer to the call of creativity.”

PR & Brand Management: MTN vs ETISALAT

Well, as a Professional, I wouldn’t want to respond to the Saka menace going on in town but then I keep getting emails upon emails from students, clients, fans and friends. People keep asking me several questions; why on earth did Saka port?

Relatedly, I went for a Strategic meeting with the Executive Board Members of a renowned bank, and the story came up again. In fact, they played the commercial and applauded the sheer brilliance of MTN. I actually heard one of the Excos saying ‘I’m going to port immediately.’  So I asked them: what worked for you in the commercial? Majority of them said ‘we just love this Saka man’

There’s nothing as powerful as that cultural connection and that humanness factor we display as brands. As I watch from a distance the recent Saka phenomenon  I can only bow to this timeless advertising principle. Culture eats Strategy for breakfast.  Hats off.

As the Creative Director who was privileged to have created the iconic Saka for advertising, I watch as this device takes on a life of its own and how it is gradually becoming a major case study in the history of Nigeria’s advertising.  However, before I go to major brand lessons this should teach us, I shall quickly correct some insinuations flying round in our ad circle. Ad people can be their own worst enemies. Don’t take my words for it. Go see  Mad Men. However, it’s good to have a first person point of view to this saga.

For the record.

First, Saka was not a celebrity used for etisalat. Rather, he was a character we at Centrespread designed for an ad campaign that has come to take on a life of its own. When we did create the character bible, we needed a talent that could act the role and he came in for the casting like any other person. Looking at the screen test later on, we had no doubt that Saka was the man we were looking for. You must give credits to etisalat to have approved of our direction and choice. It really was not their ‘type’ of advertising.  So, it was not a case of celebrity endorsement, it was a case of characterization. In Wendy’s ‘where is the beef’, the miniature old lady has become a phenomenon because of her characterization and Wendy wouldn’t dare joke with that.

Secondly, we must also quickly correct the impression that the ‘funny’ man was looking for money, hence porting to MTN.  While it is a fact that all of us on this planet would want to be better paid for our talent, I know personally, that Saka gave his very best to us on etisalat’s campaign. He was not signed on a contract. He was paid like any other 3-month model arrangement. He was not paid the proverbial gbem. For the brand then, it was more of a tactical usage. He didn’t fit their typical advertising look and feel. Remember etisalat is the hip, classy and swag brand. Like I said earlier, we must credit them to have approved of the Saka idea in the first place.  Although it was beginning to look like this was a devise that etisalat could own, going by the results it generated, Saka was treated like any other cast. I am very sure Banky W got more handsomely paid than our beloved Saka. Far far. But where is Banky W today?  He ported also. That is what you can refer to as celebrity usage. Saka was not treated as such.

Quickly onto major brand lessons.

1. Advertising people must realize that people don’t really go all out to watch and listen to what we have to say. People don’t like ads. However, people love characters. Characterization is the holy grail of great storytelling. And if you are lucky to have one working for your brand, you’d better recognize and keep it like gold.  My friend Udeme. Mama na Boy.The Malboro man. The Michelin Man. The Morton Salt Girl. Some of these are animated devices, some are real cast. Whatever it is, it is the job of the brand to treat such characters as assets for brand equity.  In Africa, our type of storytelling is rarely animated. Hence, the place for human characters. I shall talk about this, another day.

2. We must come down from our high horses as advertisers and start recognizing local nuances and cultural elements in our storytelling. I don’t know where we got the theory that ‘looking good is great advertising’. Great ads may look good but that’s not their intentions. They normally have that verisimilitude to the lives of the people they serve. They are usually humanly populist, interesting and sometimes funny.  How professionally done is the Indomee song ‘mama you do good o’? It may be tough selling that to a boardroom of brand people who believe in certain types of music production and musicians. The Indomee song came to the market awash with on-air fake accents and stole the show. It mirrors what our people would do. It mirrors how our children