Nollywood filmmaker Kemi Adetiba has come out to appreciate her husband, Oscar Heman-Ackah, for supporting her while she produced her latest project, “To Kill a Monkey.” She recently revealed that Nigerians should help her thank him for how well the project’s music score turned out.
According to her, Oscar calling her a creative genius is incredibly flattering, since he deserves a lot of accolades for supervising the project thoroughly.
She added that his collaboration on the project brought the emotions to life, and he even went days without food just to ensure everything came out right.
Her words, “I just want you all to know… That my ‘husbeeend’ thinks I’m a GENIUS 😊😊🙈🥰
BTW You people should help me thank Uncle Oscar for the incredible work he did on the music score in TKAM. Plus supervising everything involving the sound. His collaboration on this project brought the emotions to life. And believe me… It was FAR from easy.
I’m talking early days and late nights. I’m talking days without food… Just water and a FOCUS on making sure everything in relation to SOUND on this project kicked major a***
You even put your own projects to the side, just to focus on mine. I’m forever grateful for the way you love up on me and everything involving me♥️
Thank you for everything you did for TKAM baby. YOU are an absolute GENIUS and I can’t wait for you to SCATTER EVERYWHERE when you drop FINDING MESSIAH!!!ps. The streets are asking for the TKAM Soundtrack ohhh. What should I tell them 😝”
WOW.
Nollywood is a sobriquet that originally referred to the Nigerian film industry. The origin of the term dates back to the early 2000s, traced to an article in The New York Times. Due to the history of evolving meanings and contexts, there is no clear or agreed-upon definition for the term, which has made it a subject to several controversies.
The origin of the term “Nollywood” remains unclear; Jonathan Haynes traced the earliest usage of the word to a 2002 article by Matt Steinglass in the New York Times, where it was used to describe Nigerian cinema.
Charles Igwe noted that Norimitsu Onishi also used the name in a September 2002 article he wrote for the New York Times. The term continues to be used in the media to refer to the Nigerian film industry, with its definition later assumed to be a portmanteau of the words “Nigeria” and “Hollywood”, the American major film hub.
Film-making in Nigeria is divided largely along regional, and marginally ethnic and religious lines. Thus, there are distinct film industries – each seeking to portray the concern of the particular section and ethnicity it represents. However, there is the English-language film industry which is a melting pot for filmmaking and filmmakers from most of the regional industries.
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