Who’s The Boss Theatrical Poster

In September 2019, I decided that I wanted to make my directorial debut with the coming of age romantic dramedy Who’s The Boss. Given the things that were interesting to me, it was the perfect film for my debut:

  • Found Family
  • Coming of Age
  • Romance
  • Work Life

The cast and crew were amazing and I loved the end product. Is it perfect — of course not — but it’s mine and I love it just the way it is. And of course, we’re grateful that it is available on Netflix, and so if you haven’t seen it. …

New Money Trailer

In 2017 we made a movie called My Wife and I, the first of what I’ve started calling my first Omoni trilogy. Staring in that film was Jemima Osunde as Omoni and Ramsey’s rude daughter. Most people saw that performance and wanted to know why she didn’t get slapped (which in a way was part of the point).

I saw that performance and thought leading lady, luckily I ended up being able to do something about it.

In 2017 whilst I was shooting The Wedding Party 2, I was thinking about my next project. …

So following on from my conversation with Niyi Akinmolayan on insta live it’s clear there is a lot of interest on my perspective about low to mid budget film making.

Now this is commercial film making I’m talking about. There’s a different and equally valid path if you’re focused on the festival, international exposure route. A number of people have walked that path also and succeeded.

Niyi has spoken so eloquently about how to make a low to mid budget commercial film from the creative side in his blog post on Elevator Baby so I’m not going to rehash that.

The picture above is a list of the top twenty films released in 2019. There are many things to take out from this chart, but I want to highlight one thing: 19 of the top 20 films made over N100m and the 20th made close enough that it made no difference.

Compare this to the picture below, which is of the list of the Top Ten Titles in 2016 and 2017 when I started talking about N100m being the standard for a blockbuster.

Sources: Industry Estimates & CEAN Comscore Data

One of the things about inflection points is that they tend not to be obvious when you’re in one. It’s only when in hindsight when a pattern starts to emerge. And this is the case with the subject I’m about to write about in this long and fairly wonkish article.

I wasn’t really intending to blog about this, but I was doing some research that required me to review the box office reports over the past few years. …

A little while ago I wrote a piece on why Out of Luck remains my favorite film. It was a story about the little film that could.

Anyway this is not that story.

So about a year ago I put up the script for The Arbitration. As I said in the series of tweets below — one of the best ways to learn about the craft is by reading scripts

I decided to do the same thing with Out of Luck but with a slightly different twist. …

This book changed the inkblot trajectory

According to my kindle app, I bought Blockbusters — the book in the picture above on — March 24 2015. I say it with no exaggeration that reading that book changed our lives at Inkblot.

At the time Inkblot had only made one film — The Department and I was probably in development on Out of Luck — which was called One Chance at the time. Prior to buying (and reading) the book, we were focused on telling stories (based on those films anyway) that were not mass market in nature.

However reading the book refocused our objectives. I know…

So a couple of days ago, I did a tweetstorm on King of Boys that I thought didn’t rise to the level of a blog post.

Basically the point was about how the Gladwell framework was useful to analyse opportunities that showed that apparent disadvantages were really advantages — with King of Boys being a prime example of that.

So I thought about it some more and I realised that it did rise to the level of a blog post because there was another example of the same phenomenon — Film One and Nollywood…

So I was listening to this a16z podcast on entertainment and technology where Jeffery Katzenberg was speaking — if you are reading this you probably know who he is, but there is a link just in case.

Katzenberg was explaining why he was going into short form content and why he believed that his new startup would be successful — His new start up is called Quibi and it has raised $1billion to date with the goal of transforming short form content.

Currently short form content is produced in the US (and probably globally)for about $1,000 to $5,000 per minute…

Naz Onuzo

Writer | Producer | Director| Nollywood Soldier| Founder @inkblotpresents

Get the Medium app

A button that says 'Download on the App Store', and if clicked it will lead you to the iOS App store
A button that says 'Get it on, Google Play', and if clicked it will lead you to the Google Play store