Kunle Afolayan:I Never Wanted to Live Under My Father’s Shadow; Glad that’s Not Happening Now

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Famed for his laudable cinematic works with a pedigree so well-established beyond the shores of Nollywood, ace actor and filmmaker, Kunle Afolayan has made a name and an enclave which soon remains a point of reference in the movie industry. Ebullient in his approach, the culturally-endowed Kunle, in this revealing conversation with Ferdinand Ekechukwu, talks explicitly on his forthcoming epic title – Anikulapo – prior to the world premiere recently as he offers a glimpse of his father’s range and family dynasty

A nikulapo which is your latest work, among a few other movies was expected to screen at the recent film festival in Toronto, that’s the prestigious TIFF, how was it?

Anikulapo did not screen there. There was meant to be like an industry screening. But because the time was too short noticed, I decided not to go ahead with the screening. The premiere we are having now (end of September) is the world premiere. And that’s the first time people will see it publicly. It’s going to be at Filmhouse Imax in Lekki. That’s the first time it will be publicly screen.

What was it like shooting Anikulapo, compared to your other sets in recent times?

Well it’s different because I have never done a period piece of this nature. Of course, ‘October 1’ was a period, ‘Swallow’ was a period, but those were mix of, contemporary and epic setting. But Anikulapo is a full back-in-time-film set in 17 Century. If you say 17 Century in Nigeria, it means you are really going back in time. So, one from production design point of view, because for the first time also, I was completely in charge of production design apart from directing and producing. Meaning that all the aesthetics of the film and the looks and feel, everything you know sort of rest on my shoulders. So, that sort of put a bit of pressure. But because it’s something I have been working on for like six years, a lot of research you know already went into it before we embarked on the post production. So, yeah it was a good experience.

A bit about it on the aspect of culture… what does it mean to you to shoot such epic movie with huge leaning on the Yoruba culture?

Oh, no it means everything to me. It means everything to me because we grew up reading literature books both in English and Yoruba and the Yoruba literature books were quite interesting in the sense that when you read them you could actually picture what the set and all of that would look like. So, working on this and also working with those veteran actors who have been in the scene for over 50, 60 years made it more fun because some of them were my father’s contemporaries and they worked on my father’s films-set back in that time and then working with them 30, 40, 50 years after was such a privilege. 

You just mentioned your dad which I was actually going to ask. Can one ever talk about you, your success, without associating you with your dad or his works in any ways?

Yeah of course, I think…well I don’t know. But I think at first when I started, of course people would say ‘oh he’s Ade Love’s son’. Now people only refer to that when they want to talk about my history or where I’m from and all of that. People hardly sort of tie my style – the style of my film – to my dad’s film people don’t do that comparison. And maybe it’s because my style is different. And of course, if the international media would talk about my works, they would only refer to the fact that okay maybe those who knew my father or reading from the past publications would get that okay maybe. But a lot of people don’t actually; some people never knew that I’m from that family of filmmaking. But did his name add to my journey so far? Of course, yes…

You think to some extent your success has not been measured with his name or something like that?

No. he even parted before I started. My father died in 1996. I made my first film in 2006. I never wanted to leave under my father’s shadow and I’m glad that is not happening. I don’t go somewhere and say ‘attend to me because I’m Ade Love’s son’, no. I think I have built my own name. Again, like I said, my style of filmmaking is completely different from my father’s. 

Now the movie is set for official premiere on September 30th, which is your birthday, what’s the significance on the choice of your birthdate for the launch?

Well there’s no significance. The thing was the same thing happened last year if you remember. We officially opened KAP Hub and then also premiered ‘Swallow’ on the 30th of September last year, which was my birthday. And it just so happened that this year I pleaded with Netflix to let us have it released same date. At first, they said ‘oh because of the date and all of that’, but I was surprised when I saw the release date. And also, I’m happy because next day is always public holiday. So, even if we party on the 30th and we don’t go to bed, there’s always holiday the next day.

Is it some form of adaptation? What’s the inspiration, the backdrop of the story?

It’s not an adaption actually. It was inspired by… I don’t know if you know Ifayemi Elebuibon? He’s a scholar in Yoruba. And I was doing a documentary on the Yoruba heritage and lifestyle. I sat with him for some time and then we were talking and then he was telling me a bit of some of the Odu in Ifa and then he recited this particular Odu in Ifa. And I said to him that ‘sir, this is a film’. What people don’t realise is that Ifa divination is like bible. It has verses and chapters and all. And each of those verses stories on their own you know. It’s like you opening genesis chapter one. By the time you start reading verse 1, 2, 3, you would see it’s like telling a story of either a people or place. So, that was where I got the backdrop of the story from which is the story of this Saro and the Akala bird and the fact that Akala wakes the dead and gives them another chance in the past life.

Previews have mentioned, speak to us explicitly about the casting?

Okay for the casting you know if you are doing like a language film, number one you must be sure that the language is not murdered in any way. So, no matter how fantastic the actors are, they must also be able to speak the language. It has to be authentic. So, those were the first thing I looked out for. Now, Kunle Remi, why Kunle Remi? I worked with Kunle Remi on ‘Naija Christmas’ and he did amazingly well. 

When we were doing final casting for ‘Anikulapo’ his picture kept coming to my head one because of his looks we wanted someone who looks charming, who convincingly charms women in the film. The only area we were a bit concern was his Yoruba. And then we put him through coaching and all of that and for me he killed the film. Bimbo Ademoye it was my first time working with her and also because she’s a rising and shining star and her Yoruba is impeccable. Sola Sobowale, of course she’s a veteran and she killed it. Now Hakeem Kae-Kazeem a lot of people didn’t know he’s a Nigerian. And the role he played I’m not going to reveal yet. But of course, we didn’t have any problem dealing with language and all of that. And then there’s Ogogo, and all the other people, all those veterans. It was all given because they all started with travelling theatre before they then moved to travelling cinema and then television. And I think it would be a blunder if you do a film set in Oyo Empire 17 century and you don’t have the Oyo Mesi, all the chiefs… That’s actually what informed the cast. Now there are two cast people would find interesting. My daughter, Eyiyemi featured and then my sister, Moji also featured. For a very long time anytime I put up Eyiyemi’s picture people would say ‘oh she’s a replica of your sister and all of that’. And in casting you have to be close to reality. And because they both look alike, of course Moji is an actress, and of course Eyiyemi is also a shining star, so I decided to have them play mother and daughter which was so original and it works so well.  

The location one may consider as something of interest too. Talk about the choice of location for the movie. In what ways did it impact on the movie?

Okay now this is the first time we are going to build an entire set from the scratch. The film was shot in Komu/Igbo-Jaiye in Itesiwaju LGA of Oyo State. We found the place and I decided to build a film village there but starting and test running with ‘Anikulapo’. So, the film village was built and everything. Right now, as we speak we have like 14 horses, camels, donkeys, a lot of birds, ostrich, but all these started last year November when we decided that we are filming there. So, we are currently building a 40-room hotel there so that people if people book the place to shoot, they will also have accommodation on ground. The place is a destination already because people come there to see what we do. And we hope to set another film there very soon.

Is it some sort of partnership or is it just personal/private venture?

No, its private thing no partnership of any sort; it is owned by KAP Group and the place is called KAP Film Village and Resort. It’s another subsidiary of KAP Group and Golden Effects. But again that place is where my mother is from; so I also try to you know to honour my mum.  

This is your second of the multi-title deal with Netflix. How soon can we expect next one?

Now this very one, like I said, I have been working on for the past six-years. But of course, the multi-title deal with Netflix is three films, one in a year. ‘Swallow’ is the first one. ‘Anikulapo’ is the second one. Originally, Anikulapo is supposed to be a series. But we decided to do a test run, like a pilot. We are going to embark on doing the full series afterwards. The third one is meant for next year. But it’s been good experience put together working on the three films.