Secrets that push film directors to the top

Hollywood knows only too well that a film director can make or break a production. Directors have mastered the art of creating the charm that makes them stand out and each brings something special to the table.

Quentin Tarantino is well known for his distinctive clever, original and bold storytelling that adopts poetic prose and his absorption in specific camera shots. James Cameron takes more than a decade to work on box-office hits that employ cutting-edge technology and moving stories on humanity. Woody Allen is an experimentalist who ingeniously brings out the humour in crime stories and has an open fascination with films set in classical studio era.

Antoine Fuqua only needs to be given good actors for the roles to create magic. Steven Spielberg, a sucker for special effects, is said to be the first early adopter of computer-generated imagery and Mel Gibson is renown as one who does true justice to epic, biblical and historical films. Other respected directors are Clint Eastwood, Francis Ford Copolla, Martin Scorsese, Christopher Nolan, Tim Burton, J.J Abrams, James Wan, among others.

Back home, Waniru Kahiu is remembered as being the first to script and direct a science fiction production, Pumzi, that like David ‘Tosh’ Gitonga’s Nairobi Half Life, created global buzz and won them awards. And then the two legacies of Kenyan cinema: Cajetan Boy and Bob Nyanja. The former is well known for his interest in telling human stories that voice real life situations while the latter chooses to go for unlikely situations and dares to tackle issues that are considered rather too sensitive. Judy Kibinge, another household name, is a multifaceted director who has been consistent in scripting and directing documentary and drama films.

The Real Househelps of Kawangware and Tahidi High director Phil Karanja, who has an interest in drama, describes the success of his work in the feedback he gets.

“I am not a control freak. I do not push the actors to do what I want rather let them also give their input. I love it when the actors and crew enjoy a particular scene because that’s when I know the show will be a success. I am however, very keen on my production’s colour temperature and love working with warm colours because they attract people,” says Phil whose favourite Kenyan director, Gilbert Lukalia, has created a niche in moving drama films - Shattered and Strata as good examples.

Alex Konstantaras, who won Africa’s Best Director Award in last year’s Nigerian Entertainment Awards for Fundi-mentals clearly has his eyes focused on comedy movies, and as he reveals, road movies too, that have been under public scrutiny.

“I think my humour and the choice of characters are kind of a trademark in my films. I like to focus on social misfits in everyday situations through humour. I believe I have a pile of unique ideas to tell and that can give an edge to the production. Some people call it controversy, I call it innovation. It is not random that majority of our productions have generated discussions among the public and media. Some people may say that out films are controversial but I believe that controversy is created by the audience later and is not necessarily intentionally present from the start,” Alex says.

This outspoken Historia Films co-founder describes himself as an actor’s director, who like Phil, is more focused on the actor’s performance.

“I am more interested in getting the best performance I can from an actor rather than trying to get a complicated shot. I like simple and nicely balanced frames with powerful performances rather than complicated, unnecessary fancy shots with weak performances though I can do both,” he says.

Phillipe Bresson has it going on for soap operas, and other directors that made a mark Jim Chuchu (Homecoming), Nathan Collet (Kibera Kid), Njue Kevin (Intellectual Scum) and Simon Mukali (Veve).

Other than the challenges of poor funding, poor payment by broadcasters, impatient filmmakers, unskilled crew and working with the best crew, there has been concerns that female directors are taken less seriously all over the world. Though they are as many female directors in Hollywood, the few only land comedy films that end up with low ratings. Then there are the female actors turned directors who are taken far less seriously like Angelina Jolie who received harsh criticism for her director role in Unbroken compared to those who have been directors all their lives like Kathryn Bigelow.

However, while the international scene does not take note of its female directors, Kenya is doing a much better job. Here, Wanjiru Kinyanjui (The Battle of the Sacred Tree), Hawa Essuman (Soul Boy), Jinna Mutune (Leo), Ravneet Sippy Chadha (Subira) and Wanuri have made an impact in the film industry.

Alex agrees that Kenya has been a pioneer in this aspect even as debate rages on as to why this is also not the case in Hollywood.

“You can say that it follows ‘sexism’ that is deeply rooted in our society or you can debate that women do not prefer to be directors but producers. It is an endless debate. But in Kenya we have a number of women successful directors, maybe more than men. Kenya is a pioneer on that aspect,” he says.