Afrigather John Demps, a cinematographer with a profession spanning many years, has made an impression on each Hollywood and Nollywood. His spectacular portfolio contains high-profile Nollywood movies like ‘Residing in Bondage: Breaking Free,’ ‘The Commerce,’ ‘Omo Ghetto: The Saga’ by Funke Akindele, and her upcoming film ‘Everyone Loves Jenifa.’
Demps’s journey—from his early days in Hollywood, engaged on music movies with icons like Tupac and Snoop Dogg, to shaping Nollywood’s visible panorama—is a testomony to his expertise and flexibility.
Learn additionally: Nollywood rides funding crunch to remain on display screen
On this unique interview, Demps displays on his profession, sharing insights into his transition from Hollywood to Nollywood, the evolution of filmmaking expertise, and the distinctive challenges and rewards of working in each industries. He additionally discusses his collaborations with notable administrators and producers, shedding mild on the inventive processes behind a few of Nollywood’s most celebrated movies.
Early Beginnings: From Florida to Hollywood
Born in Orlando, Florida, Demps’s fascination with movie started at an early age. Initially aspiring to turn into a information cameraman, he pursued a level in broadcast journalism at Florida A&M College. Nonetheless, a pivotal internship on the American Movie Institute (AFI) in Los Angeles throughout his senior 12 months modified his course, setting him on the trail to changing into a cinematographer.
“I bear in mind a mentor telling me, ‘You must apply to AFI. You simply want one thing you’ve shot to submit together with your software,’” Demps remembers. That recommendation led him to a pivotal second in his profession.
Demps took a job at an area TV station enhancing the present MAS*H to suit a time slot. After six months, a digital camera place opened on the station, permitting him to shoot native commercials. He used this footage to create a reel and was accepted into AFI the next 12 months.
“I moved to Los Angeles and studied cinematography in this system. It was like a two-year program. The primary 12 months, you simply shoot together with your classmates, after which they choose 5 cinematographers and 5 administrators for the second 12 months to shoot a movie.”
Breaking into Hollywood
Demps’s early profession in Hollywood was formed by a mixture of technical work and artistic mentorship. He had a pivotal internship with legendary cinematographer Laszlo Kovacs, identified for his work on movies like “Ghostbusters.” Demps, the one Black cinematographer in his class at AFI in 1982, remembers Kovacs’s motivating phrases: “You may’t flip again now.”
Learn additionally: From Netflix to YouTube: How we’re rewriting Nollywood playbook – Arese Ugwu
Demps began as a lighting technician within the business, working his means as much as the gaffer and finally changing into a Director of Pictures. His early Hollywood expertise included engaged on iconic rap music movies, together with tasks with Tupac and Snoop Dogg.
“Through the time I used to be gaffing, I used to be doing a number of rap movies,” he says. “I did music movies for artists like Tupac and Snoop Dogg.” These collaborations honed his technical abilities and uncovered him to the fast-paced, high-energy world of music video manufacturing.
One among his standout experiences was working with Dr Dre for the movie “Deep Cowl.” Demps remembers a humorous second when Snoop appeared to assume the digital camera’s jib arm would hit him. “Each time it moved into Snoop, he would again up. I’d say, ‘Snoop, don’t transfer. It’s not going to hit you.”
Transitioning to Nollywood
Demps’s transition to Nollywood got here via an opportunity encounter with Nigerian filmmaker Steve Gukas on a movie set in Namibia in 2005.
“I owe my complete profession in Nigeria to Steve Gukas,” Demps says. “If it wasn’t for him, I wouldn’t be right here.” This connection led to Demps engaged on a number of key Nollywood productions, bringing his Hollywood experience and international perspective to the Nigerian movie business.
“I met Oluseyi Siwoku, and he owns Jungle Movies. I simply stored assembly different folks, after which the next 12 months, Steve was able to shoot. So, I returned, and we did ‘Place within the Stars,’ proper? So, from that time, I simply stored assembly folks.”
Bridging Two Worlds: Hollywood vs. Nollywood
Working in Nollywood has introduced Demps with completely different challenges and rewards. He notes a definite distinction within the tempo of labor between Hollywood and Nollywood.
He explains, “In America, producers are very aware of the finances and time. Right here, there’s a extra relaxed strategy. Even now, I’m the primary individual on set. The AD would say, name time is eight, and I’m there earlier than the AD. If the lunch is late, they’ve a meal penalty, the place the producers have to offer every crew member like $15 each quarter-hour that lunch is late.”
Nonetheless, Demps additionally praises the sense of morality in Nollywood movies. “I benefit from the tales extra right here,” Demps says. “There’s nonetheless some morality within the movies which can be made. I like all of the constructive tales that you’ve right here.”
Learn additionally: How Nollywood content material can win international attraction
Collaborating with Nollywood Administrators
Demps has labored with a few of Nollywood’s most famed administrators, together with Steve Gukas, Jade Osiberu, and Funke Akindele, contributing his technical experience and artistic imaginative and prescient to their tasks.
Recalling his work with Osiberu on ‘The Commerce,’ Demps says, “Jade is a proficient filmmaker who is aware of the best way to inform a narrative. We had some loopy lengthy hours on set. It was the primary time I labored 28 hours straight. I joked together with her, ‘Jade, you’re attempting to kill me!’”
In recent times, there have been advocacies for filmmakers to offer extra time to the inventive means of a film venture. Based on consultants, the strain to churn out movies rapidly hinders correct script improvement, which contributes to the challenges confronted by Nollywood storytelling.
He touched on this. “Some producers come to me with three days to shoot and anticipate a masterpiece. It doesn’t work that means,” Demps harassed. “Preparation is vital. Prep time is the most cost effective factor in manufacturing. It ensures everyone seems to be aligned when filming begins.”
The Significance of Pre-Manufacturing
Demps emphasised that correct preparation is important to attaining cinematic excellence. “Through the first two weeks,” he explains, “the director, manufacturing designer, and I completely evaluation the script, capturing the director’s imaginative and prescient and artistic concepts.”
Following this preliminary part, the director focuses on casting and rehearsals whereas Demps leads the technical preparations, together with location scouting, script breakdowns, and crew administration. “This ensures that everybody is well-prepared and aligned when filming begins,” Demps acknowledged.
The World Enchantment of Nollywood
Demps believes Nollywood’s tales have international attraction, however their storytelling must be tailored for a broader viewers. He factors to the success of “Home of Ga’a” on Netflix for instance of Nollywood’s worldwide potential.
Demps believes that Nollywood might obtain higher worldwide recognition and success with Hollywood’s extra open-minded strategy to storytelling and distribution.
On Budgets and Know-how
Demps acknowledges the continued wrestle for enough sources in Nollywood, notably concerning technical elements like cinematography. “It’s at all times a battle. Producers typically don’t perceive the significance of fine tools,” he says. Nonetheless, he stays optimistic in regards to the business’s future.
He additionally sees potential in the usage of VFX and inexperienced display screen expertise. “The expertise is there, however the problem is discovering expert professionals. If somebody have been to review overseas or with an enormous studio and return to Nigeria, they might clear up. The market is huge open.”
Learn additionally: Hollywood, Nollywood creatives in pact to push leisure business’s boundaries
Life on the Continent
Demps now lives in Senegal, the place he earns about $2,500 per week—lower than his Hollywood wage however sufficient to maintain his life-style. He notes that the pay is sufficient to maintain his monetary wants in Africa.
He continues to study and evolve in his craft. He nonetheless watches movies with out sound, focusing solely on the visuals. “You may study a lot simply by finding out the photographs,” he says.
