In an industry often critiqued for repetitive storytelling, screenwriter and actress Lolo Eremie is advocating for a new approach. The multi-hyphenate talent, who transitioned from advertising, music, and PR into Nollywood, recently tackled the ambitious project of adapting the award-winning stage play ‘Osamede’ for film. Speaking with TheCable Lifestyle, Eremie pulls back the curtain on the creative overhaul required for the epic, while delivering a candid critique of the industry’s reluctance to embrace new writers and its failure to properly credit those who build the stories from the ground up.
TheCable Lifestyle: ‘Osamede’ was originally a stage play. What was the biggest challenge in adapting it for the big screen?
Lolo: The challenge will be trying to find a way to create similarities between the character in the stage play and Osamede, because if you see the stage play, the stories aren’t similar at all. So, I had to get the executive producer to trust me to completely overhaul the story. It was great on stage because it had music and dance, but for film, we were not making a musical, so we had to be very strategic.
I had to make her understand my vision, even though she had other specific things she wanted in the story. Many characters had to go, some were introduced, and we had to give the main character a background story to explain how she became who she is. Thankfully, she was open to trusting me to overhaul it and see how it would play out. We also had some writing conferences where we dissected the story, so convincing the executive producer to make these changes was a major challenge.
TheCable Lifestyle: The film’s strong use of indigenous language and cultural roots stands out. How were you able to achieve that feat?
Lolo: It was achievable because the executive producer was intentional about the outcome of the project. There was a dialect coach and a translator. While writing, I wrote in English, and the material was then translated into the Bini language. Kudos to the actors, dialect coach, and translator for a job well done.
TheCable Lifestyle: Nollywood is often criticised for repeating storylines despite having many talented writers. Why do you think this still happens?
Lolo: I think we are still at a point where access is an issue. When you don’t have access to what you desire, what is readily available becomes what you settle for, because you lack the right people and resources. We tend to live in a bubble, so instead of expanding the pool of writers, there’s a mentality where people aren’t ready to search for new talent. Unfortunately, this leads to repetition, just rinse and repeat. The truth is, there are many talented people who can deliver. There’s also a political element, where people just work with those they know instead of making an effort to bring in new voices.
This could be changed by creating networks of writers or forums for submissions. Right now, there seems to be a database of the same writers on rotation for projects, and eventually, they burn out. It’s also limiting to keep using the same people because, over time, creativity suffers, not because they aren’t talented, but because it’s exhausting. The bigger bodies in the industry need to explore more: call for talent, ask people to submit their work, check streaming platforms and YouTube to see what independent writers are creating. You might find a diamond in the mud. Currently, there seems to be just a clique of writers these bodies rely on, and they don’t appear keen on expanding or bringing in new talent. That’s where the problem lies, and something needs to be done.
TheCable Lifestyle: Screenwriters don’t always get the visibility that actors or directors do. What challenges do writers face that people rarely see?
Lolo: I’ve noticed that writers are often relegated to the back burner. They get their credit, but I feel they fall through the cracks when recognition is given. Writers don’t get enough acknowledgement, especially those who develop the story. We get so excited about the interpretation, the actors, the directors, but the writers just disappear. It’s funny because they are the backbone of the project: it takes a writer to put the vision on paper so everyone else can interpret it.
I feel writers should also be given the opportunity to be part of the production process. Writers and directors need to work together more so that the writer’s vision can be properly interpreted. What exists now is that writers just write and leave, but if they work hand in hand with the directors, there would be enough clarification and alignment on the vision.
TheCable Lifestyle: As a woman in Nollywood, have you experienced inappropriate advances or harassment? Do you think it’s still a real problem in the industry?
Lolo: I know it is a problem, but I don’t think it’s unique to Nollywood. Women in all kinds of industries face inappropriate advances. However, women in Nollywood need to have louder voices. There is also a conflict because some people have created the impression that doing certain favours guarantees roles, and this makes others think it’s the right way to advance in the industry. Yes, inappropriate advances do happen, but you can also get opportunities fairly. You can walk away, and there will still be something better.
I also want to encourage women to explore beyond acting. If you’re passionate about the industry, you don’t have to be in front of the camera—you can explore other ways to contribute and be useful to the industry.
TheCable Lifestyle: Who are the filmmakers and writers that inspire you, and who would you love to collaborate with in the future?
Lolo: I’m a huge fan of Gregg Araki as a director and writer. He really inspires me, and intentionally, he’s someone I would love to work with. In Nollywood, there are so many talented people, but the cinematographer I would most like to collaborate with is KC Obiajulu. Recently, when you look at his movies, they are very cinematic. I think he’s a great storyteller, and he’s definitely someone I would love to work with.
Osamede has now premiered in the UK and the US and is showing in selected cinemas.
In the UK, it can be seen in Greenwich, Birmingham, Milton Keynes, Streatham, and Manchester Great Northern, while in the US, it is screening in Houston, Dallas, Atlanta, Maryland, and Indianapolis.
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