THE DIRECTOR/EDITOR NOLLYWOOD DISCONNECT:WHAT WE CAN LEARN FROM STAR TREK, INTO DARKNESS

In the Nigerian film and broadcast industry, editors are merely tools with no creative input whatsoever, they join sequences and scenes together the way oga director asks them to, grade to over saturated tones because the director likes the look he gets off his LED tv with the unnatural colors and super tone options the TV gives and mostly use the same old recycled nollywood sounds-yes O we don’t like to hire other people to treat our sound or compose scores. So usually, an editor is a an unfulfilled player in the media industry with his sights set on one day directing, producing or earning a more prestigious sounding title that elevates him to a more enviable status on the totem pole. I am yet to find a fifty year old editor satisfied with his lot as an editor in the Nigerian multi media sphere, if you know any, kindly direct me to them. I ran across this interview with the female editing team of the J.J. Abrams produced STAR TREK, INTO DARKNESS and was impressed by the level on which they interacted with producer/director J.J. Abrams about the direction the film would take and realized that nollywood has no such interests, granted most of the editors either come out of half baked institutions – a certain one in surulere comes to mind – or interned with post production studios where the reason why they did things a certain way were never explained to them, deliberately or unconsciously, and were carried on as standard practice (in fact, I am a product of various parts of this kind of education and indoctrination into multi media production however I sought out more knowledge and questioned a lot of things and found out that some things we do as standard practice were a result of deficiencies prevalent within a long past era, even more common are the misnomers applied to certain post production processes which can leave one momentarily confused ). I mean one could argue that we haven’t yet explored Pudovkin’s 5 Editing Techniques in our films or the five points breakdown in our scriptwriting and as such our film making process is not yet sophisticated enough for that kind of interaction between both parties but regardless of this, the editor is not merely a tool, spending hours in front of loads of footage will give just about anyone, especially an editor, a perspective that could help mould the film even better than the director imagined. Here however, the focus is on who gets it done the fastest with the least amount of technical errors like jump cuts and crossings. To grow, we’d have to come to the realization that the sophistication we lack has to be built from somewhere, somehow, we can’t keep doing the ‘I will buy script from Mrs. A and the boy that shot Mr. D’ s film will shoot for me and that guy that edits for Oga Y should have my first cut of the movie in less than two weeks, this our ‘product assembly line’ method of making movies should stop, plain and simple, so here’s the link to the interview here, maybe we can make our own sci fi flick that’s a third as good before 2015

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