Kunle Afolayan’s KAP Film and Television Academy has begun a four-day cinematography and directing workshop for filmmakers in partnership with the United States Embassy.
The programme kicked off at KAP Hub in Ikeja Lagos on Tuesday with the third edition of the academy’s Reel Circle.
The opening ceremony attracted a range of notable figures including actress Sola Sobowale, veteran filmmaker Tunde Kelani, KAP Academy director Seun Soyinka, head of school Prof Tunji Azeez, QEDNG publisher Olumide Iyanda, award-winning American writer and director Angel Williams and visual artist and cinematographer Erin Wesley.
Consul General at the US Consulate in Lagos Will Stevens was the special guest.
Speaking at the event, Kunle highlighted the importance of the workshop for budding filmmakers.
He also shared insights from his career journey with a video montage that highlighted key moments in his filmmaking experience.
Addressing the audience Mr Stevens said, “As an American diplomat, I feel deeply the power of our culture and how the United States has benefitted for many decades, from the power of culture and that has helped how people perceive the United States for better and for worse but it also led to increased interest in visiting and doing business in the United States.
“Kunle and some of his colleagues are churning out content that is being watched across the globe in partnership with the United States via platforms like Amazon, Netflix, and they are investing because they know people want to hear these stories.
“I believe that we are at the very beginning of what I call the second half of the 21st which is the African century. By 2050, Nigeria will be the third-largest country in the world and second largest democracy city in the world and Africa will have over a billion people.
“We have to get ready and you are doing that by shaping how people perceive your culture, country and content and I am just really glad that as the US mission, we can really support that and we can create this partnership with the American storytellers and film industry to tap into the next generation of people that are going to be here.”
The workshop also included a special screening of Ija Ominira, a classic film by Kunle’s father Adeyemi Afolayan.
This was followed by a panel discussion with Kunle, Williams, Wesley and Tunde Kelani, with the theme “Crafting the Director’s Vision, ” concluding with an interactive Q&A session.
Kunle spoke about the advantage of collaboration among crew members for a film production.
“Film is a collaborating effort so it’s not a case of individuality. Yes, the departmental heads would definitely have meetings. Sometimes I engage even the lower members, I engage them directly especially if I see they know what they are doing.
“If you don’t know what you are doing, I will refer you back to the head of the department. If you know what you are doing, I specifically say ‘Okay, bring that person to stand in.
“Whenever we have reading with the actors, I bring some of my crew members to be there so that if we are making changes, they know why even before we get on set. In that spirit of collaboration, we can work and party every day.”
Cinematographer Wesley shared insights on managing creative differences on set especially when a director’s request seems unfeasible.
She emphasized the importance of being adaptable saying, “We prepare thoroughly before each shoot, but I remain open to ideas from directors, even if I have doubts.”
Wesley noted that she approaches her work without ego, welcoming challenges and fresh perspectives. She stated that she values a collaborative atmosphere where directors feel at ease suggesting ideas, adding that she doesn’t take creative disagreements personally.
The cinematographer said her working relationships have always been harmonious, never involving direct clashes with directors.
Kelani added, “I have worked with directors, sometimes you have to really study their personalities and see how you can work with them.
“It is a creative process so you have to create an understanding between the two of you. I know directors who I suggest an idea to and they say ‘it doesn’t make sense’. I may try suggesting the next day but if I’m met with the same response, I would stop.”
Williams opened up about the difficulty of staying true to her creative vision while working within a budget, sharing a personal experience from her first feature film.
She described a scene where a young man, an artist struggling to make ends meet visits the wealthy family of his new girlfriend—a Black woman from a privileged background.
Her vision was to showcase a refined Black American family dinner complete with dishes like mac and cheese. However, her predominantly non-black crew replaced the meal with what they considered typical for a family gathering, forcing Williams to make quick adjustments on set.
With little time to correct the change, Williams decided to scrap the dinner scene entirely.
She improvised starting the conversation after the meal, handing everyone glasses of wine. The scene opened with a line praising the fictional meal saying, “Dinner was amazing.”
The event ended with closing remarks from the panellists encouraging attendees to stay committed to honing their craft.
Reel Circle is an industry-focused event that offers aspiring filmmakers free workshops aimed at empowering them with practical skills and industry knowledge.
