Films find a way of drawing their audience into the world of the characters. This world, however, cannot be successfully created without the architects in the production design department. In Nollywood, Blue Adekunle is one of the architects who has brought many stories to life, visually. La Femme Anjola, Blood sisters, Elesin Oba, Love Language, and Now That We Are Married are some of the films she has worked on in the Art and Production Design department. She has also worked as the 1st Assistant Director in Brotherhood and Shuttlers. What makes Adekunle an even more interesting filmmaker to study is the fact that she is well-rounded. Not only has she been involved in creating the look and feel of films, but also the overall vision of a film, her award-winning debut short film Man and Masquerades is proof.
Adekunle’s experience with mainstream projects does not stop her from working on independent ones. She has directed short films including Safer Outside and Masquerade. Also, she has worked as a Director, Assistant Director, and Art Director for brand commercials for Spotify, Airtel, Mr Chef, Heirs Insurance, and GTB amongst others. Needless to say, Adekunle’s portfolio is extensive, and her versatility makes her stand out.
In this interview with Cheesemonger, Adekunle discusses her filmmaking journey. She talks about her award-winning debut short film Man and Masquerades and highlights her inspirations, as well as the differences and similarities between the mediums she has worked on as a filmmaker. This conversation has been edited for length and clarity.
How did you find yourself in the film business?
I started as a visual artist. I have a First Class Bachelor’s Degree in Creative Arts from the University of Lagos (UNILAG), where I majored in Directing and Production Design. In my third year there, I developed a love for filmmaking. I have been creating art through film since then. When I graduated, I took a lot of masterclasses in filmmaking. I also took a film study program in Art direction at Ebony Life Creative Academy.
What’s it like being an art director?
It is always a fulfilling experience when you are trusted with the execution of the visual language of a film. Art direction challenges you to constantly research and create different visual worlds within a film space. Every script is a new journey.
In your experience working with the Art Department for films, commercials, and music sets, what are the differences between designing for films and designing for these other mediums?
Art direction is all about delivering the visual look and feel of a project through the use of set design and props management. Every story is unique, and every project is different, however, the bigger picture is pretty much the same.
Directing commercials for brands is like design: It is not about you, but the brand. You can’t place being artistic over passing the brand’s clear message about the product. Directing short films gives you more artistic freedom.
What’s the end goal for you? Directing?
Yes. I have always regarded myself as a storyteller, so having more control over how a story is being told is my major creative goal.
Great. What is the first thing you do as an art director when you get a script and how do you work with the director’s vision?
The script is the foundation on which every creative decision is made. I take my time to understand the characters and their world, as well as what the script has said about certain locations. When I create a space for a character, it is always informed by who the character is and what they like to do. Then I create a color scheme based on the mood of the story and what the director is trying to achieve. I add my little artistic style to it and just keep building till the set is well-achieved.
During the script breakdown, I highlight every scene that concerns production design and art direction. Then I go ahead to prepare my mood board. Of course, while I prepare a mood board, I do a great deal of research for inspiration. The mood board informs how I approach the work artistically, then share my mood board with the director, and we bounce ideas off each other. Then, we conclude with a final design style and work starts.
A mood board is important because it helps us agree on a colour scheme and the visual language (the look and feel) of the film. When we have some last-minute changes to make, the mood board keeps us on track. When you are working with a team, each of them has to refer to the mood board.
I also love asking the director a lot of questions, because It’s very important to involve the director in this process—it is the director’s creative vision. However, sometimes, you might have to educate the director on why you are making some choices. Filmmaking is all about collaboration.
What films did you see as inspiration for Elesin Oba? What were the motivations for its production design?
When we were creating the art for Elesin Oba, our major reference was the original theatre production of the script. It was the first time on screen, but it has always been on stage. Though fiction, the story is inspired by real-life events. It’s set in the 40s, and everybody on the team knew that we were going for a very authentic depiction of that era. It was very exciting because we were creating two worlds. We were creating the Elesin Oba world and the British world. Though they are worlds apart, they influence each other. We watched a lot of theatre performances; we saw some epic films and also saw Bridgerton. We did a great deal of consultation. We spoke to people from South Africa to get some period-correct British props; and for the Yoruba bits, we collaborated with Madam Nike Okundaye of Nike Art Gallery, where we found a lot of great material.
How did you find yourself being an Assistant Director & how was the experience as 1st AD on the set of Brotherhood?
I wanted to position myself for more opportunities close to directing. So I started up as an AD intern/ 3rd AD and just continued to grow through the ranks. The experience on the set of Brotherhood is something that I regard as a miracle because I wasn’t the first choice for the job. I got to work with some of the best creative minds in the industry, and we got to make one of the biggest Nigerian films of the decade. The experience inspired me to take my directorial pursuit more seriously, so I challenged myself and went on to make my debut short film “Man and Masquerades”
You’ve worked on independent projects as well as mainstream projects. What is the difference between the production of both indie films and mainstream films?
The budget and production size. Mainstream films are mostly produced by big studios with large budgets. So, it is easier for them to get the best cast, crew, and resources available. Indie films don’t have that type of budget and mostly thrive on relationships and collaborations. Other than that, we are just all making films.
How has your experience in other departments (Art, Production Design, Assistant Directing) influenced your directing?
It has helped me in developing a style and expanding my skill set. I’m an artistic person, so when I direct, I take cognizance of the visual look and feel of the picture. I have also gotten several front-roll opportunities to work closely and learn from some big-time directors.
Also, working in another department keeps me in the loop of the trends in the industry. You can’t give what you don’t have, so I’m absorbing these experiences just to be more grounded.
Which filmmakers inspire you?
Jordan Peele, the Director of Get Out and Us. He has a unique and defined style, and he stays true to his roots. I am also a big fan of his use of symbolism, irony, and colours. I like Kenneth Gyang’s directing style and BB Sasore.
Recurrent challenges on every set (both indie and studio projects), and how do you manage them?
Time management and ineffective communication. I believe the best technique to manage this is to prioritize longer and more effective pre-preparations. And develop a stern working system to avoid these problems, e no easy oo, but we fit run am.
Best project you’ve worked on
It is difficult to pick one, but Elesin Oba, Black Harvest, and Brotherhood are definitely on the list. Perhaps my favorite is my short film Man and Masquerades. I’m biased but it is my directorial debut and a very special story.
If you could change three things about Nollywood productions generally, what would they be?
Story, Story, and Story. Our stories still lack depth. Nollywood is unique, and I just want to do my best to impact the storytelling culture and add value.
Funding as an indie filmmaker
When it comes to funding, as an independent filmmaker it is not an enjoyable corridor to walk on. As much as it looks like there are so many options to get grants, loans, etc, it doesn’t just fall on your laps. Especially when you start with little or no track record, it would be difficult to convince investors to give you money for a passion project. So most times, you are left with using funds from your savings, which is what I normally do. Fortunately, for Man and Masquerades, the major funds came from an investor whom I had never met, who liked the story and my hunger to tell it. Then I collaborated with other young filmmakers. I made the film with some of my savings as well. So, you can’t let money stop you, position yourself for opportunities, and collaborate with your peers. Brick by Brick, you will get to the top.
Your film won Best Short Film at AFRIFF. What does it mean to you as an indie filmmaker?
Winning an AFRIFF Globe is a dream come true. I give all glory to God that I won it with my debut short film. It only means the journey has been worthwhile and everything wey I don dey learn since, no waste.
Man and Masquerades is a film that explores African masculinity and a vital portrait of the impact of rigid gender bias, assumptions, and stereotypes in most societies in Africa. It is a story that is not commonly told about African men, but heavy is the head that wears the crown. I created the film inspired by my curiosity to understand how men feel about the heavy societal expectations placed on them.
What’s your opinion on the argument that men are not in the best position to tell stories that concern women and vice versa?
A storyteller tells stories; he or she doesn’t necessarily need to be the owner of the story to be able to tell it. It is all about connection. It is in this light that I don’t think there should be any gender bias as to who should tell a story. As long as the teller connects and respects the subject.
I believe that to eradicate this problem of gender war, we need to see ourselves, understand ourselves, be open to change, and embrace the freedom of telling our stories.
The film also screened at the recently concluded Ibadan Indie Film Awards (IFA). How was the experience for you?
Man and Masquerades at IFA 2023 was a cool experience. There were a lot of young independent filmmakers in attendance, so we were speaking the same language. I felt extremely honoured by the nominations the film received and how the film was received by the audience, who I also got the opportunity to personally connect with. It was fun.