Filmmaker JJC Skillz has shared the story of his transition from the music industry to Nollywood, citing his age and a desire to evolve as key factors
After achieving success in the UK music scene with groups like Big Brovaz and JJC & the 419 Squad, JJC Skillz moved to Nigeria and faced challenges breaking into the film industry, including gatekeeping.
However, with support from industry professionals like Deyemi Okanlawon and Funke Akindele, he persevered and has gone on to direct notable projects like Industreet, Jenifa’s Diary, and Omo Ghetto: The Saga.
Despite his success, JJC Skillz laments the difficulties of cinema ticketing in Nigeria, where filmmakers struggle to receive a fair share of revenue, and the exit of streaming platforms has left the industry uncertain about the future.
He emphasizes the need for filmmakers to give audiences value for money and notes that the harsh business environment is stifling creativity.
JJC Skillz said:
“As far back as I can remember, I have been shooting music videos for years. Even my ‘We Are Africans’ video, I shot that myself. But after doing African Gang in 2011, I realised I was getting too old for the young scene, so I knew it was time to evolve. I packed my bags and moved into Nollywood. I was very passionate about telling stories.
“I wouldn’t say normal life when you’re starting again. I was a JJC (newbie). I didn’t grow up with most of the filmmakers in Nigeria, so it was like, ‘You want to enter our space?’ Some doors were closed. There are gatekeepers at all levels. It’s a situation of monkey dey work, baboon dey chop. We put in a lot of work. Sometimes, the cinemas take 70 per cent, other times 60 per cent, and after paying 22 per cent tax, we’re left with nothing.
“We have to make the film and also sell it because distribution companies aren’t out there selling. We are stuck in a horrible place. The hope for a better day was with streaming companies, but they’ve left. So now we’re back to asking, ‘if we put our money into it, will we get it back?’ At the end of the day, it’s a business, and creativity is getting killed. Nigerian filmmakers need to improve to give the people value. I’ve even had to market my film with a promise of refunds if viewers weren’t satisfied.”
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