John Demps: From Hollywood to Nollywood

John Demps, a cinematographer with a career spanning decades, has made an impact on both Hollywood and Nollywood. His impressive portfolio includes high-profile Nollywood films like ‘Living in Bondage: Breaking Free,’ ‘The Trade,’ ‘Omo Ghetto: The Saga’ by Funke Akindele, and her upcoming movie ‘Everybody Loves Jenifa.’

Demps’s journey—from his early days in Hollywood, working on music videos with icons like Tupac and Snoop Dogg, to shaping Nollywood’s visual landscape—is a testament to his talent and adaptability.

Read also: Nollywood rides funding crunch to stay on screen

In this exclusive interview, Demps reflects on his career, sharing insights into his transition from Hollywood to Nollywood, the evolution of filmmaking technology, and the unique challenges and rewards of working in both industries. He also discusses his collaborations with notable directors and producers, shedding light on the creative processes behind some of Nollywood’s most celebrated films.

Early Beginnings: From Florida to Hollywood

Born in Orlando, Florida, Demps’s fascination with film began at an early age. Originally aspiring to become a news cameraman, he pursued a degree in broadcast journalism at Florida A&M University. However, a pivotal internship at the American Film Institute (AFI) in Los Angeles during his senior year changed his course, setting him on the path to becoming a cinematographer.

“I remember a mentor telling me, ‘You should apply to AFI. You just need something you’ve shot to submit with your application,'” Demps recalls. That advice led him to a pivotal moment in his career.

Demps took a job at a local TV station editing the show MAS*H to fit a time slot. After six months, a camera position opened at the station, allowing him to shoot local commercials. He used this footage to create a reel and was accepted into AFI the following year.

“I moved to Los Angeles and studied cinematography in the program. It was like a two-year program. The first year, you just shoot with your classmates, and then they select five cinematographers and five directors for the second year to shoot a film.”

Breaking into Hollywood

Demps’s early career in Hollywood was shaped by a mix of technical work and creative mentorship. He had a pivotal internship with legendary cinematographer Laszlo Kovacs, known for his work on films like “Ghostbusters.” Demps, the only Black cinematographer in his class at AFI in 1982, recalls Kovacs’s motivating words: “You can’t turn back now.”

Read also: From Netflix to YouTube: How we are rewriting Nollywood playbook – Arese Ugwu

Demps started as a lighting technician in the industry, working his way up to the gaffer and eventually becoming a Director of Photography. His early Hollywood experience included working on iconic rap music videos, including projects with Tupac and Snoop Dogg.

“During the time I was gaffing, I was doing a lot of rap videos,” he says. “I did music videos for artists like Tupac and Snoop Dogg.” These collaborations honed his technical skills and exposed him to the fast-paced, high-energy world of music video production.

One of his standout experiences was working with Dr Dre for the film “Deep Cover.” Demps recalls a humorous moment when Snoop seemed to think the camera’s jib arm would hit him. “Every time it moved into Snoop, he would back up. I’d say, ‘Snoop, don’t move. It’s not going to hit you.”

Transitioning to Nollywood

Demps’s transition to Nollywood came through a chance encounter with Nigerian filmmaker Steve Gukas on a film set in Namibia in 2005.

“I owe my whole career in Nigeria to Steve Gukas,” Demps says. “If it wasn’t for him, I wouldn’t be here.” This connection led to Demps working on several key Nollywood productions, bringing his Hollywood expertise and global perspective to the Nigerian film industry.

“I met Oluseyi Siwoku, and he owns Jungle Films. I just kept meeting other people, and then the following year, Steve was ready to shoot. So, I returned, and we did ‘Place in the Stars,’ right? So, from that point, I just kept meeting people.”

Bridging Two Worlds: Hollywood vs. Nollywood

Working in Nollywood has presented Demps with different challenges and rewards. He notes a distinct contrast in the pace of work between Hollywood and Nollywood.

He explains, “In America, producers are very conscious of the budget and time. Here, there’s a more relaxed approach. Even now, I’m the first person on set. The AD would say, call time is eight, and I’m there before the AD. If the lunch is late, they have a meal penalty, where the producers have to give each crew member like $15 every 15 minutes that lunch is late.”

However, Demps also praises the sense of morality in Nollywood films. “I enjoy the stories more here,” Demps says. “There’s still some morality in the films that are made. I love all the positive stories that you have here.”

Read also: How Nollywood content can win global appeal

Collaborating with Nollywood Directors

Demps has worked with some of Nollywood’s most renowned directors, including Steve Gukas, Jade Osiberu, and Funke Akindele, contributing his technical expertise and creative vision to their projects.

Recalling his work with Osiberu on ‘The Trade,’ Demps says, “Jade is a talented filmmaker who knows how to tell a story. We had some crazy long hours on set. It was the first time I worked 28 hours straight. I joked with her, ‘Jade, you’re trying to kill me!’”

In recent years, there have been advocacies for filmmakers to give more time to the creative process of a movie project. According to experts, the pressure to churn out films quickly hinders proper script development, which contributes to the challenges faced by Nollywood storytelling.

He touched on this. “Some producers come to me with three days to shoot and expect a masterpiece. It doesn’t work that way,” Demps stressed. “Preparation is key. Prep time is the cheapest thing in production. It ensures everyone is aligned when filming starts.”

The Importance of Pre-Production

Demps emphasised that proper preparation is essential to achieving cinematic excellence. “During the first two weeks,” he explains, “the director, production designer, and I thoroughly review the script, capturing the director’s vision and creative ideas.”

Following this initial phase, the director focuses on casting and rehearsals while Demps leads the technical preparations, including location scouting, script breakdowns, and crew management. “This ensures that everyone is well-prepared and aligned when filming begins,” Demps stated.

The Global Appeal of Nollywood

Demps believes Nollywood’s stories have global appeal, but their storytelling needs to be adapted for a broader audience. He points to the success of “House of Ga’a” on Netflix as an example of Nollywood’s international potential.

Demps believes that Nollywood could achieve greater international recognition and success with Hollywood’s more open-minded approach to storytelling and distribution.

On Budgets and Technology

Demps acknowledges the ongoing struggle for adequate resources in Nollywood, particularly regarding technical aspects like cinematography. “It’s always a battle. Producers often don’t understand the importance of good equipment,” he says. Still, he remains optimistic about the industry’s future.

He also sees potential in the use of VFX and green screen technology. “The technology is there, but the challenge is finding skilled professionals. If someone were to study abroad or with a big studio and return to Nigeria, they would clean up. The market is wide open.”

Read also: Hollywood, Nollywood creatives in pact to push entertainment industry’s boundaries

Life on the Continent

Demps now lives in Senegal, where he earns about $2,500 per week—less than his Hollywood salary but enough to sustain his lifestyle. He notes that the pay is enough to sustain his financial needs in Africa.

He continues to learn and evolve in his craft. He still watches films without sound, focusing solely on the visuals. “You can learn so much just by studying the images,” he says.