Interview: Editi Effiong Discusses Production And Narrative Originality of “The Black Book”

Editi Effiong found his creative passions early in life,  he wrote stories and took pride in having books around him. As a child, he joined a dance club and got involved in stage productions. While growing up, he took interest in technology. His brainchild, Anakle Limited, is a testament of his entrepreneurial spirit, with the brand rated as one of the leading digital technology companies in Nigeria.

In 2018, Editi Effiong marked his Nollywood filmmaking debut with the production of Up North, a film directed by Tope Oshin. At this time, the filmmaker had carved out Anakle Films, a subsidiary of the parent company, that is concerned with “telling the next generation of African stories through film”. Effiong released his sophomore feature film The Setup, as the company’s first two films were acquired by Netflix. 

Part of Anakle Films’ raving accomplishments is the making of the short film Fishbone, a production borne out of the company’s partnership with the US Mission in Nigeria and the US Justice Department. The film expresses a social concern as it plunges into the dark world of pharmaceutical drug counterfeiting in the slums of Lagos. 

In his latest film The Black Book, Editi Effiong takes a step further in exposing another criminal underworld. This time around, his film is a fictional account of Nigeria’s conflicted history with drug peddling, military rule and ugly politics, through the perspective of a retired hitman who is on the move to seek justice for his slain son.

Editi Effiong, Producer and Director of “The Black Book”

When he speaks, Editi Effiong does not mince words. It’s both a fun and not-so-fun reality. He wants to be heard, but he is also hard on his beliefs, which is one of the building blocks of his filmmaking career. He would not compromise his artistic originality to appeal to any audience, be it Nigerian or international. The strength of his thought is evident, for instance, in his refusal to commit the fate of his current golden project to directorial anyhowness. Taking full charge of the filming process was a non-negotiable deal for him.

Effiong is riled by the thought of The Black Book being linked to foreign influences. In his conversation with Culture Custodian, he defends the aesthetic choices that have birthed the production of his one-million-dollar-budget action film. His thoughts—optimized for clarity—are captured in this interview.

From co-writing to producing and directing The Black Book, your impact was felt in several aspects of this project. Was this what you had in mind when you got the vision for it?

The film deals with issues of justice and oppression. I witnessed periods of the military governments in Nigeria, including the Abacha regime. So, it was important for me to tell a story that mirrors that aspect of our society. That’s what you see in the film.

You are previously associated with Day of Destiny and Up North, both of which are part of your productions. What is it like marking your feature-length directorial debut on your latest project?

Day of Destiny was an Anthill production. I executive-produced it, so I wouldn’t call it my production. Up North was my first production. I also produced The Set Up and a short film titled Fishbone. Initially, I wanted to go with a different director for The Black Book. It was obvious the filming would take about a year to be completed. I couldn’t find anyone willing to dedicate a year to the project, and that’s why I ended up having to do it. Besides, no one else could connect to the vision that I had for the project. I felt that having to fulfill that vision was more important to me, so I chose to direct the film. 

What were the challenges experienced while filming The Black Book?

We wanted to have a lot of creative control. We wanted integrity in the way we approached the creation of the film. That alone put a lot of pressure on the production department. It was a challenge building those sets. For example, both the police station and the General’s home in the film were built from scratch. Also, the place where Angel kept Mr. Craig and the baby was built. Most of the interiors were built in the studio. That was a challenge on its own. Altogether, we built thirty-eight sets, and of course, we had to match that with the exteriors. The exterior of Paul’s home was shot in Tarkwa Bay. We had to take trucks across the lagoon, and that was challenging on its own. Then, Covid-19 set in. The entire production took four years, including three years of writing and prep, six months of pre-production, four months of production, a month of pick-up, and a year and eight months of post-production.

L-R, Editi Effiong and Richard Mofe-Damijo 

Your film contains an ensemble of Nollywood veterans, including Sam Dede, Richard Mofe-Damijo, Shaffy Bello, and Alex Usifo. What informed your casting choices?

I have watched a lot of actors and I wrote those roles specifically for them. RMD was my Paul Edima from the get-go. I also wanted Ade Laoye specifically for her role. The same experience applies to Shaffy Bello and Sam Dede. Most of the roles I wrote for these characters because I knew what they could do. I kept them in mind while writing and wrote to favor their strengths. 

It’s interesting to know you started as a tech person before getting into filmmaking. Could you lead us through your backstory as a Nollywood filmmaker?

I’m still in tech. I describe myself as an entrepreneur working in technology, advertising, and film. I haven’t moved away from anything. Yesterday I was at the office doing tech. I am a man of many passions, and I enjoy the things I do. I have always wanted to make films and tell stories. I started writing when I was ten. I grew up in a home full of books. As a child, I was always involved in stage plays and was in a dance club doing productions. So, I knew I was going to make films. It was a matter of “when”. I’m glad that I’m here today and living the dream that I envisaged.

There seem to be Hollywood influences in the production of The Black Book. Could you let us in on the filmmaking influences for the project?

I don’t buy the Hollywood comparison. We made sure everything looked Nigerian. We didn’t use kung fu and extreme Hollywood fights. Anyone who understands Nigerian history would connect with the references in the film. I’m tired of having to say that my production is not inspired by John Wick or any of the Hollywood action films. If you read Nigerian history between 1984 and 1996, you would discover there was a squad involved in assassinating people who were not liked by certain powerful individuals. My film didn’t have any special effects, flashy guns, ninjas, etc. all of which are normally attributed to Hollywood. So, the Nigerianness of the production can be felt.

Would this action-thriller type become a niche or franchise for you? Or how else do you hope to be perceived in your future filmmaking projects?

I don’t care about how I’m perceived. I say things I need to say through the films I create. Part of The Black Book is my philosophy about life and how things are. Every artist is expected to speak through their art. I’ve played my part. How the audience receives it is entirely their concern.