Perhaps, one of the most popular veteran actors in the movie industry right now who has as much presence in the Yoruba films as in English films is no other than Prince Jide Kosoko. He is an actor who has been around for more than six decades. He is so talented he is considered by colleagues to be a chameleon when it comes to assuming characters to translate his roles.
In this engaging interview, the Prince of Kosoko Royal Family of Lagos chronicles the history of film productions in Nigeria, his family, and the art of acting.
There have been arguments over when Nollywood came into existence. In your own view, when did the film industry emerge in Nigeria ?
Nollywood is more than 20 years old as against what people think. They make reference to Living in Bondage (1992) which was not the pioneer film in Nigeria. I produced Asiri nla that same year. Film production in Nigeria started in the 60s but most of the films were documentaries.
Do you mind taking us down the memory lane?
Professor Wole Soyinka produced Kongi Harvest which did not have a commercial viability then. Commercialised film-making in Nigeria started in 1976 with Ajani Ogun produced by Dr. Ola Balogun . This film experimented on the already existing Yoruba theater created by the likes of Herbert Ogunde, Baba Sala, Duro Ladipo, Kolawole Ogunmola , Ogungbe, etc. who were as at that time,acting on stage.
Ajani Ogun was in celluloid and that was the first film that started the revolution of film-making in Nigeria. Other films like Ija Ominira, Aiye, etc. also followed suit.
The process of film production could not be completed in Nigeria because our laboratories lacked the equipment needed for the post production, so many producers had to travel abroad. In 1985 when the economic Structural Adjustment Programme of the country started, many film producers could not make enough money to travel abroad for the post production of films. Along the line, Alade Aromire broke the jinx and produced a film using a video projector. Although the production was of low quality, it recorded a huge success like the celluloid.
After this, I produced Asiri Nla and Adebayo Salami produced Asewo to re meka in 1992 to improve on the low quality. Tunde Kelani followed with Ti oluwa nile. And that started the second revolution, improving on what was on ground. In the late 90s the third revolution started. Living in Bondage by Kenneth Nnebue & Okechukwu Ogunjiofor started the incursion of other tribes into the industry.
Kenneth Nnebue had produced Aje niya mi and other films for NEK Videos before Living in Bondage. Living in Bondage did have its impact on the Nigeria film industry, in terms of equipment, post production etc., but can never be a point of reference when thinking about when Nollywood came into existence.
You started acting when many parents did not believe in the industry. How did you manage?
I started acting professionally in 1964 at age 10. But I starred in a professional production which was even before film production. My parents were not happy with my choice of career just like other parents. But I was rascally as a child. I engaged in things that many of my mates never could dare. My parents felt I was to be entertained as a royal prince and not the other way round.
What do you think influenced your choice of career?
My passion for acting. Also, I lived in the same vicinity with Papa Hubert Ogunde on the Island and had some of his children as friends. I used to admire how people shouted his name whenever he drove round the street and I prayed to be like him. So, when the opportunity came, even as a child, I grabbed it with both hands.
What do you think you would have become if you didn’t go acting?
Sincerely, I don’t know if I could have succeeded outside the creative world. Acting and entertainment is my calling.
What are the things you consider before accepting roles?
I have gotten to a stage where I cannot afford to be part of a bad production.
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