Introducing The Rising Superstar Writer, Director And Editor, Bunmi Ajakaiye

What was the hardest artistic choice you made in the making of TSMW, at any stage in production?

The most difficult choice I had to make was shooting scenes with my editor head screwed on during the days when the time was not on our side. It was very risky to make that decision for the editor because the standard procedure requires that you get as much coverage during filming to guard against the inevitable. Fortunately, I had a DOP who was just as brave as I was and knocked out shots as quickly as we could without compromising too much of our own artistic integrity.

What was the most important lesson you’ve learnt since you started directing?

The most important lesson I’ve learnt is that everything that can go wrong will go wrong. Brace yourself!

What were the production realities from casting through editing that you had to accommodate? How did you navigate those compromises or surprises and still end up with a cohesive show?

One of the biggest things I had to come to grips with quickly was having an executive producer who was extremely involved in the artistic process.

It definitely isn’t the norm so I had to understand that and rework my process to accommodate such instances. I think from the start, the screenplay was quite solid which lays an excellent foundation for whatever we were going to achieve.

Was there any pressure to deliver TSMW in a specific way?

There is always pressure whenever one is entrusted with a story that has enjoyed its share of critical and commercial acclaim in book form. A lot of people are eager to see the words they read in their minds or out loud, come to life on TV. The show deserved to be delivered as true to the book as possible and with all the glamour and pizzazz it deserved.

“It was tough to call off the scene for that day but we eventually got another spot which served us much better.”

Is it harder to get started or to keep going when a shoot is difficult? Were there moments like that on TSMW?

There aren’t many easy sides to creating film in Nigeria so whether the difficulty manifests in the beginning, middle or end, one must never take their eyes off the prize; to call WRAP within the time given! On the TSMW set, we faced unique challenges, some of which end up working out in our favour eventually. We lost a club location after several hours of planning and preparing.

Each time there was something to adjust or compromise on, there was wriggle room somewhere in the story that kept the flow coherent.

You are often described as a collaborator. How did you encourage members of your team and how do you keep the relationship with them especially on difficult/trying days?

I think I earned the title of collaborator because of my skillset; I’m a writer, editor and director. Those roles put me in a unique position to be competent enough to understand the broader picture during execution. So, I am able to lend a useful hand if need be. It’s really that simple. On trying days, I keep my energy high because everyone feeds off your energy as director. If they see you in high spirits, it rubs off on them better than any words could.

In your opinion what makes a successful filmmaker?

Success can only be measured by the individual involved so there is no formula. I can only speak for

myself and my own measure of success which happens once my story holds true for at least one person out there in the world. If one is fortunate enough to find financial success along the way, then the

success is sweeter but I only know how to create from my heart and all the heart yearns for above all else is connected. If I can connect with an audience no matter the number, then I have achieved

success.

What was your best and worst moment on set?

I had many great moments during the shoot, I struggle to select one but nothing gave me more joy than when talent and crew nail a scene seamlessly, against all odds because there was quite a number.

I felt my most enabled in those moments when we were all in sync and everyone is on their A-game. There is nothing better than that for me. My worst memory was anytime we lost daylight; the sun was our biggest asset so anytime we lost it, everyone struggled a little harder and that didn’t make me happy.

Success can only be measured by the individual involved so there is no formula.

What were the production realities from casting through editing that you had to accommodate? How did you navigate those compromises or surprises and still end up with a cohesive show?

One of the biggest things I had to come to grips with quickly was having an executive producer who was extremely involved in the artistic process. It definitely isn’t the norm so I had to understand that and rework my process to accommodate such instances. I think from the start, the screenplay was quite solid which lays an excellent foundation for whatever we were going to achieve.

Each time there was something to adjust or compromise on, there was wriggle room somewhere in the story that kept the flow coherent.

What was your favourite part about shooting TSMW? Would you do it again?

The best part about shooting TSMW was seeing the girls on the front cover of the book come to life. The exceptional women cast in the roles embodied their characters so well; it was almost too good to be true. They were costumed beautifully and they looked amazing through the lens.  The feeling truly never gets old.

The male cast supporting them was the icing on the cake, we couldn’t have been more fortunate. It’s crazy to think that only a few weeks before we filmed, they were drawings and words in our minds and now, we have them in the flesh for 13 episodes. I think that’s fantastic.  I could definitely get used to filming TSMW