Sam Idiagbonya: Keeping the cameras rolling in Abuja

by Ajuluchukwu Brown, Abuja

STANDFIRST
Medical doctor and filmmaker Sam Idiagbonya has been making films in Abuja since 2013. In this interview with Ajuluchukwu Brown, he discusses rising production costs, the struggle to turn a profit, and what the capital needs to support its filmmakers.

GUTTER:

“I have made films where production and marketing costs were high, yet the returns did not justify the investment.” – Sam Idiagbonya

“There are many creative people in Abuja who don’t have enough exposure or platforms.” – Sam Idiagbonya

“Filmmaking is not just about passion. You have to understand the business side.” – Sam Idiagbonya

Abuja, better known for government offices and diplomatic activity, is gradually developing a filmmaking community. For Dr Sam Idiagbonya, filmmaker, producer and President/Chief Creative Officer of Fedmas Studios, the city offers significant opportunities, but requires greater investment in infrastructure, training, funding and creative freedom.

A medical doctor and certified screenwriter, producer and director, Idiagbonya began filmmaking in 2013. Since then, he has combined production with professional training and an effort to understand the business side of the industry.

His credits include Nini, a film exploring love and identity; Meadows (Colours of Desire), a series; Turns, which aired on DStv; and Lami, which won Best Film of the Year at the Inside Nollywood International Film Festival.

In this interview with Guardian Life, he reflects on the realities of filmmaking in Abuja, the business behind creativity, funding, cinema distribution, YouTube, collaboration, and the role government must play in Nigeria’s creative future.

You entered filmmaking with passion. What did Abuja teach you about the difference between loving the craft and surviving the business?

Abuja is not the greatest film city in the world in terms of infrastructure and ecosystem, but there is a certain kind of story here. I find Abuja fascinating. I ventured into filmmaking because I wanted to present my films to the world. Along the way, I discovered that filmmaking is not just about passion. You have to understand the business side.

You can be a very talented filmmaker, but if you don’t understand business, you will struggle. I had to learn about distribution, managing a company, building relationships, and understanding how the industry works.

In an industry that never stops changing, how have you kept yourself from becoming comfortable with what you already know?

You have to keep expanding. I have attended seminars, training, and media events. I am a certified director, producer, and writer, among other qualifications.

For me, filmmaking is continuous learning. Your story has to be solid, your production design has to work, and you must understand your industry and audience.

Behind every finished film is a long list of bills. How have you navigated the economics of filmmaking?

Technology has helped tremendously, but funding remains a serious problem. Passion alone cannot sustain filmmaking. You need equipment, people, logistics, and marketing.

Film equipment is expensive, and many filmmakers have had to find alternative ways of financing their work. Government support matters, but filmmakers also need to understand how to build sustainable businesses around their creativity.

If money is one obstacle, what is the human-capacity gap doing to the quality of Nigerian films?

We don’t have enough properly trained crew. People sometimes think that because they can operate a camera, they are cinematographers. It doesn’t work that way.

Film framing is a science. Lighting is both an art and a science. Production design, sound, and cinematography require professional knowledge and experience. Training and partnerships with universities are therefore important.

Abuja often appears more suited to bureaucracy than to creative rebellion. What does the city offer the filmmaker who chooses to create here?

Abuja is a plus. We have relatively stable electricity in many areas, a serene environment, good hotels, accessibility, and relatively easy movement. The problem is that we don’t always take advantage of these advantages.

There are many creative people here who don’t have enough exposure or platforms.

Does Abuja merely provide the backdrop for your films, or has the city begun to shape the stories you tell?

My market is the world. Earth is my market. If I make a story in Abuja and somebody watches it in London, they should still be able to relate to it.

Of course, if the story is specifically about Abuja, the environment becomes part of it. But generally, I don’t want to limit my stories to one locality. A good story should travel.

Every creative ecosystem needs room to breathe. What freedoms and infrastructure are Abuja’s filmmakers still waiting for?

Freedom. Creatives need the freedom to experiment, fail, criticise, and try again. Then there are infrastructural deficits. Equipment is expensive, training remains a challenge, and filmmakers need more opportunities to justify investments in equipment.

The future of creativity is collaboration. You cannot do this alone. I could write a script for a month, and my team could spend weeks criticising it. That criticism is necessary. If somebody has a better idea, you should be able to listen.

Cinema was once the grand destination for a filmmaker. Has that dream become harder to sustain?

It is very difficult for independent producers. I have made films where production and marketing costs were high, yet the returns did not justify the investment. There is also the problem of delayed remittances.

Then consider the cost of cinema tickets and the economic pressure on Nigerians. People increasingly say, “I’ll wait until it comes to Netflix,” or “I’ll wait until it comes to YouTube.”

Cinema can survive, but filmmakers must invest in story, production quality, marketing, and relationships. Being talented is not enough. The challenges of film distribution have also prompted conversations about expanding distribution channels for Nigerian cinema.

And then came YouTube, quietly redrawing the map between filmmaker and audience. What has it changed?

YouTube has brought films closer to consumers. Someone anywhere in the world can access your content through a link. But one million views does not automatically mean one million dollars. Monetisation depends on several factors.

Still, YouTube is part of our lives now. The question should be how filmmakers can better monetise digital platforms. The platform has become an important distribution route, as seen in the growing influence of YouTube on Nollywood.

If Nigeria’s creative industry is an untapped export, what must government do to turn potential into an actual economy?

Government needs to see creativity as one of Nigeria’s exportable resources. It should create a level playing field without favouritism and improve accessibility.

Government needs to go into the trenches. Ask: Who are the filmmakers in Jigawa, Gombe, Taraba, or Sokoto? There are creative people in places where nobody is looking.

For the young filmmaker staring at an uncertain industry, what keeps the dream alive?

Be hopeful. Hone your skills. Work hard. Collaborate. Today, you may be on YouTube; tomorrow, in the cinema, Netflix, or on an international platform.

The world is interested in Nigerian stories. We just have to improve our craft and stop believing that we can do everything alone. The future of creativity is collaboration.