Kamalu Mijinyawa has spent 21 years doing all it takes to ensure the production of qualitative films. He has also spent 19 years directing film production in Kannywood. In this interview with IBRAHIM HAMISU, he speaks about details of his role in the industry.
Background
I was born at Unguwar Tudun Nufawa, Kano Municipal local government area. I attended Jakara Special Primary School, and later I enrolled at JSS Gwammaja before proceeding to GSS Dala. After completing my secondary education I gained admission into Federal College of Education (FCE) for my preliminary science studies. From there I went to College of Health Technology where I obtained a diploma in dental surgery technology. I also obtained a diploma in desktop publishing under a programme initiated by the Atlantic University Innovative. Furthermore, I attended workshops and seminars. I am married.
Tell us about your debut in Kannywood?
I joined Kannywood as a result of my keen interest in the industry. I used to attend film-shooting locations and with God’s kindness to me, I learnt the rudiments of the profession; hence, I registered a company, H&K Film Production, and immediately I started work as an assistant director. From there I graduated to become a full pledged director in the industry. Later on, our company changed its business name to Yusrah Ventures Film Production.
When did you first handle film production?
I started handling production in 2001, when I worked on our company’s film, Ragaya Netholder, and I worked as its director. In 2003, we produced another film, Allura-Niddle; a figurative expression of a lovely girl that got the attention of so many suitors.
The film industry has a very wide scope; what is your area of expertise?
I usually play several roles in many areas, including being a cameraman, film/video editor, as well as an experienced director.
How many films have you produced so far?
Allura-Niddle or a figurative expression of a lovely girl that hooked the attention of so many suitors; Yanki region or part of a town; Gidan Harka – Picnic Pavilion Sahara – desert; Sanin Asali, tracing the root- Lineage/Genealogy; Barmo – personality/actor; Maaskin dare – night barber; fansar So Rasome, for the sake of love; Motsin Rai – interjection; Zubar Hawaye – crying woefully; Zamantakewa – social set up; Malukussaifi – war hero, and Shantu – a musical instrument usually played by young girls and many others.
Also, there are series dramas/films that are yet to make their debuts on TV/cinema screens; at least five of them. And those series of drama films include Zubar Hawaye – crying woefully; Shantu – musical instruments for young girls, and Malukussaifi – thatdepicts a war hero in the olden days.
Which among the listed was the first that you directed?
I first directed the production of Allura-Niddle.
Do you belong to any union or association of professionals?
Of course, yes! I belong to the Guild of Hausa film Directors, and I am the secretary of the state chapter of the Guild.
What exactly are the activities of this professional body targeted at?
We have achieved a lot of successes as a result of which we ensured that our members are registered. And we give every member the Guild’s insignia in order to certify him as a member of the body. By and large, we made a biometric registration of members which can be accessed online. We are also planning to undertake professional training for directors in conjunction with other professional bodies from other parts of the world. We deem it fit to invite our colleagues from other countries solely to give our target trainees qualitative reading and reference materials.
What are your major achievements in Kannywood so far?
I mingle with people of all walks of life and have acquired a lot of skills. My name becomes a household name from afar and near places. My life is full of successes, though there are challenges I encountered during the production of so many films, right from the day I made a debut into the film industry. The first director I employed to do my biddings gave me a headache as he refused to appear on locations early.
On the second day he did not show up at all. That was how I started learning the technical knowhow to become a film director. The same problem instigated me to acquire film editing skills, as well as film shooting with camera. Another chaotic situation that bedeviled me was the day I rented a house to shoot a film; the owner of the house was a married woman who had wanted to set her eyes on an actor that appears in my film. To cut a long story short, the woman’s husband caught his wife having a hot debate with a film actor and as a result we were forced to stop shooting in his house. And it took a long time before we were able to secure a hotel that could give us exactly what we needed.
The major challenge I encountered was an attempt to snatch a film that I took pride in; and even up till today I have not released it. The film is entitled Malukussaifi, and those who attempted to snatch the film from me; hence we were taken to the security agency or simply I can say the state CID. That was how the security personnel arbitrated the case between us. The issue has been settled once and for all.
Have you ever been honoured?
No, but I envisage one day I will be honoured.
Who is your mentor in Kannywood?
I don’t have a mentor, but my colleagues in the industry have really assisted me in several ways. And those worthy of mention are Hassan Mijinyawa, a film producer, who is also a business partner in our company. Also, people like Ado Ahmad Gidan Dabino; Balarabe Murtala Bahru and the late Umar Saidu Tudun Wada; Abdullahi Muhammad Nalako; Al-Mustapha Adam Muhammadu; Salisu Muazu Rijiyar Zaki; Farukk Sayyadi and Baba Williams, who is a childhood friend as well as a colleague in the industry.
What advice do you have for your colleagues on ways of producing qualitative films?
I will advise that we should continue to strive hard to ensure that our films reflect our cultural norms and values. This is necessary, since we are the representatives and ambassadors of our cultural norms. Also, we should work hard to develop our profession so that our films can become competitive on the international stage.
