Rising petrol prices—a critical commodity influencing transportation, food production, and the overall cost of living—have sent shockwaves across various sectors, including Nigeria’s film industry, Nollywood.
Petrol prices have jumped from N198 to N1,030 per litre in 18 months, straining filmmakers and impacting everything from production budgets to shooting schedules and even the types of stories being told.
Demi Banwo, an actor and film executive, noted that a film that would cost N100 million before the spike now costs N250 million to N300 million.
“We may not have as many big-budget productions as before, but I think people would still be churning out films on YouTube, in Asaba, or in cinema. I mean, there are a lot more films that are going to the cinema now. So, I don’t see it reducing the number of films. It just may reduce the scale of the films,” he said.
Isioma Edegbe, a Nollywood filmmaker, explained that costs like transportation, accommodation, and equipment rentals are directly tied to the state of the economy, forcing filmmakers to adjust budgets and make compromises to complete their projects.
“Currently, filmmakers are forced to rethink their projects, opting for shorter filming schedules, scaling back ambitious storylines, and limiting shooting locations to cut costs. Travel expenses, like flights between cities such as Lagos and Abuja, have become a significant burden. The Nigerian economy’s downturn has had a severe impact on Nollywood, and filmmakers are eagerly awaiting economic recovery,” Edegbe said.
Banwo, earlier quoted, acknowledged the financial pressures facing producers, suggesting that compromises might be necessary to manage costs in areas like casting, shooting schedules, and equipment.
He emphasised that government intervention could be pivotal in revitalising the Nigerian film industry. He proposed that tax incentives or breaks—like those in countries like Canada, which attract Hollywood productions—could significantly reduce costs and stimulate local economies by creating jobs.
While funding is beneficial, Banwo stressed that strategic allocation is key. He identified distribution as one of the industry’s primary bottlenecks, suggesting that investing in better distribution channels would be more impactful than financing film production. With more distribution options, he argued, Nollywood could generate greater revenue, ultimately leading to better pay for everyone involved.
He also pointed to Amazon’s exit from the market as a significant challenge. “When one of your biggest buyers is not buying anymore, it then has an effect on how much money you’re making or how much money you’re making then has an effect on how much money you’re spending,” he stated.
As a major buyer of Nollywood films, Amazon’s absence has left filmmakers grappling with reduced revenue streams, forcing them to re-evaluate their financial strategies and scale back their projects.
Edegbe echoed similar sentiments, noting that even with grants, filmmakers still face considerable financial hurdles due to the broader economic environment.
How petrol cost affects actors
As mentioned earlier, the fuel price hike affects every player in the industry, including actors who, according to Moshood Fattah, a Nigerian actor, should be wise enough to “give themselves a raise.”
Fattah explained that while producers are often focused on minimising costs, actors need to prioritise fair compensation, considering the production’s budget, their star power, and the number of days they’ll spend on set. “The problem is that actors’ pay is unregulated,” Fattah noted, noting that many actors remain tight-lipped about their earnings, which can obscure how much they should charge.
Fattah emphasised the importance of having professional representation such as agents or managers to help negotiate better deals. He stressed that parents or trusted adults should step in to guide younger talents in contract negotiations to avoid exploitation.
“Kids navigate these companies and institutions on their own without any knowledge or experience in contracts, in negotiations and all those kinds of things. And so actors or artists usually are bullied into being underpaid,” Fattah said, stressing that experienced representatives could help safeguard these artists’ interests.
Fattah highlighted the difficult position many actors find themselves in as they are desperate for work and willing to accept low pay. He argued that this is unfair, especially considering the current economic climate. He further said that actors should be more assertive in negotiating fair wages.
Despite the challenges, Fattah highlighted that producers are often more willing to accept higher costs from equipment rental companies than from actors, which he feels is unjust. “Human life should be worth more than machines,” he argued, calling for more respectful and fair negotiations with talent.
Fuel Costs and Post-Production
The escalating fuel costs have also impacted the post-production phase of filmmaking, affecting Nollywood editors like Ates Brown, who face increased expenses for transportation, equipment logistics, and travel.
Brown noted that higher transportation and logistics costs are pushing up post-production budgets, with editors having to transport storage drives from multiple locations to studios during production.
“The increase in fuel price affects our contracts with producers as they now have to tap into contingency funds and renegotiate some aspects of the deal. However, a high percentage of producers are considerate of our post-production work by respecting our deadlines, as the main goal is to get the project to its best potential,” Brown said.
Brown claimed that the pay structure for editors in Nollywood has improved over the past few years, though it varies significantly based on factors such as the production’s budget, the editor’s experience, and the production house involved.
Ates Brown noted that the growing recognition and investment in Nollywood has led to a gradual increase in fees for post-production professionals, particularly those involved in high-budget projects or productions for major streaming platforms. However, a significant pay gap persists between editors working on larger, well-funded projects and those contributing to smaller, local productions.
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