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Downloaded from
YTS.MX
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What I loved about them
from the minute I saw the video,
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I knew they were driven.
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Official YIFY movies site:
YTS.MX
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I knew they were artists.
I knew they were passionate.
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They had this incredible, uh, goal.
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And they were making it happen.
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You just called out
the grandaddy of visual entertainment.
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This is absolutely groundbreaking.
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We had never done anything
like that before.
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Iwájú is set in Lagos, Nigeria.
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Lagos has a certain audacity as a place.
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Look at you smiling. You know! You know
you're giving me a high price! [laughs]
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[Ibrahim] There's a way it just
wills itself to be what it wants to be.
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I want people to see the good, the bad,
the ugly. You know, all the quirks.
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Puff puff!
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We've tried to be authentic
in every layer.
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You know,
I've been living in Lagos all my life.
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The indigo fabric is special to Nigeria.
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The voices you're going to hear
are homegrown.
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She's pretty much me in animated form.
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This is not us making up a world.
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This is us doing our best
to portray a very real world.
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Seeing the story come to life…
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It was just really the three of us
who had a dream that we believed in
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and worked very hard.
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[Ibrahim] There is that weight
of responsibility.
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What if I fail?
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As an African mam,
drawing or doing art is nothing.
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That's Nigerian mentality.
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But I think it's important
to take a leap of faith.
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We run the show here.
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Oh, no. You don't wanna
work with me anymore, Ziki?
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- Love me, come on!
- [Adeola laughs]
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- I'm starting to see how big it will be.
- Are you ready for Africa?
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- [audience cheers]
- Yeah!
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[Adeola] Iwájú is actually inspired by
a story that happened to a friend of mine.
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She was driving back home
from the airport one day
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and suddenly armed men tried to block
her car and she did something crazy.
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She jumped into the water and… [chuckles]
…she was actually able to swim to safety.
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{\an8}So I always knew that I wanted
to revisit that story at some point.
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{\an8}But "some point" came
a lot sooner than I thought it would
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in a way that I never saw coming.
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[Lee] I talk a lot
about Walt Disney's belief
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that we should be evolving as storytellers
all the time. I think about it a lot.
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{\an8}I remember meeting with Bob Iger
when I accepted this role
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{\an8}and his permission to be fearless.
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I set a goal right away,
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which is that I want us to not just
tell the stories of the world,
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but by the people of the world.
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And I really was excited to connect
with artists from around the world,
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and do kinds of collaborations
we'd never done before.
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[Spencer] Jenn and I had a meeting
and we were talking about the studio
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and, really, her vision for it.
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{\an8}And she started to go into an example
of where she had read this article
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{\an8}about this comic book company in Africa.
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I was lying in bed one morning
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and every morning,
I read the news on my phone,
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and I go to the different newspapers,
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and I was on the BBC
and they had this headline, um,
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"Pan-African comic book company
wants to kick Disney's…" you-know.
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So I was like, "Oh. This looks fun."
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I think that there is a sort
of cultural revolution at the moment.
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People are hungry for content
from other sources.
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There's an opportunity for them…
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[Lee] It was a video,
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and so I got to see the guys,
I got to see their love of comics,
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their love of recognizing
all the different artists across Africa
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in the different countries,
and their different kinds of stories,
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and wanting to make sure the world, um,
saw those stories.
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Most of what you find
out there about Africa
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is being told by non-Africans
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and it was very important to us
that Africans tell their own stories.
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This is incredible. This is exactly
what we do. It's all about storytelling.
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{\an8}Jenn Lee came bursting into
the Frozen II production pod,
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{\an8}and she was, like, "I was list--
I read this interview of this--
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{\an8}Have you heard of this company Kugali?"
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and she was just talking,
talking, talking. I was like,
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"Slow down. What are you saying?"
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And she was like, "I read this interview
with this company, and this one guy said…"
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We're gonna kick Disney's a** in Africa.
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I know that's gonna happen.
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He wasn't saying it as a joke.
He was saying it sincerely.
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And it intrigued me so much.
And she said, "What do you think?"
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And I said, "Well, I think
we pick up the phone."
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[street noise]
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[people clamoring]
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- Used to be Kugali's…
- [Adeola] It started with Tolu and I,
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who had known each other
since primary school.
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{\an8}[Olowofoyeku] We were those kids
who would always watch anime
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{\an8}play video games,
watch superhero content, read comics,
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but we're from Nigeria. We're Nigerian.
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Everything we watch
is American and Japanese.
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Where's the Nigerian, um, content?
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[Adeola] There was a comic con in Lagos,
here in Freedom Park,
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and when I came here and I saw
a small group of creators creating comics
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that were inspired by our own culture,
mythology and folklore,
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it was a lightbulb moment.
I was like, "Okay!
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This is new, this is original,
and here's an opportunity."
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Welcome to Kugali Spotlight
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where we look at your favorite creators
from across Africa and beyond.
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[no audible dialogue]
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[Olowofoyeku] We originally
just started out as a podcast,
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so it was just Ziki and I.
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We added a blog, a YouTube channel.
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I live in Lagos, he doesn't anymore.
He spends way more time in the UK now.
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Today I have Gbenle Maverick
and Hafeez Oluwa, the co-creators of Orò…
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[Adeola] And then it became clear that
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what was needed was a company
that could create a platform
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for talented artists and storytellers
to showcase their stories.
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So we decided we'd transition
to being a publisher
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where we were bringing together
some of these people we had discovered
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and putting their work together
with our own work.
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You know,
the quality of the work was world-class.
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It's good quality by anybody's standards
anywhere in the world.
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I was not a big comic book person.
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{\an8}I read the popular comic books,
but I had very bold visions,
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{\an8}there were things I really wanted to do.
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In terms of Tolu and Ziki as a team,
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it worked really well for me because, one,
we're all very different personalities,
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and we came from
very different backgrounds,
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and then from there,
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the rest is history.
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When Hamid and I first met,
we were both living in London at the time.
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He's from Uganda.
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I was living with Ziki,
so it was a little co-founders' house.
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So, like, right there.
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[Ibrahim] It's that building,
but it's that window down over there.
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I think we were sitting
just by the living room.
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An executive from Disney Animation
reached out to us.
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Just imagine you're sitting there,
young creative, right?
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You just called out
the grandaddy of visual entertainment.
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You just called them out
and say you're gonna kick their a****.
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And then somebody reaches out
saying, "Hi,"
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that they're from Disney, "Want to talk?"
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First things first,
you don't believe it's them.
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You're like, "Pfft, can't be them."
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So I was super-skeptical about the--
like, whether or not it was valid.
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Then after that we're like, "Let's talk
to them. Let's just see where it goes."
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We said perhaps what we'll do
is an anthology of shorts
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that are from some of the comics,
and we'll turn them into animation
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and that was kind of our idea.
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And, of course, they came in
and said, "How about this instead?"
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[Adeola] Iwájú is a futuristic
sci-fi story set in Lagos, Nigeria,
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about a young girl from the island,
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which is the richer
and more affluent part of Lagos,
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that befriends a young boy
from the mainland,
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which is the poorer and less-developed
part of the city.
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But things get complicated
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when a crime boss who runs a kidnapping
ring decides to make her his next target.
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Ziki really talked about
how he wanted each episode
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to focus on a different character
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at the very beginning.
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Olabode, why did you take that money?
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Why?
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I just loved it.
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{\an8}It's me, Omotola Abike Martins.
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{\an8}[Adeola] Tola is this
aspirational young lady
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who refuses to accept the world
for the way it is and, rather,
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wants to see it for how it should be.
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And she ultimately inspires
the people around her.
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[beeping]
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{\an8}Let's see if that did it.
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{\an8}[Adeola] Tunde is Tola's father.
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{\an8}He is a wealthy tech executive.
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Tunde's arc in the story is a journey
of remembering where he came from.
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{\an8}My people. Mmm. I am here for you, eh?
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{\an8}[Adeola] Bode grew up
in relatively poor circumstances
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and so he developed a sort of
Robin Hood complex,
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but it's somewhat false because,
you know, he just takes from the rich and
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that's the end of the story.
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{\an8}Kole!
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{\an8}Madam.
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{\an8}[Adeola] Kole is Tola's best friend
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{\an8}and he's also born
in relatively poor circumstances
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where you're earning such little money
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that it actually ends up pushing you
further and further into poverty.
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And so he's ultimately backed
into a corner.
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[Lee] It really looked like
a powerful series.
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Long-form series. It is 20--
you know, 20-minute episodes.
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We had never done anything
like that before.
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Disney Animation as a studio
has done features,
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and has done short films,
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but we haven't actually done series here.
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It just felt like, for all of us,
it would give us something really new
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to build together.
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[Spencer] You know, Disney Animation has
never partnered with an outside company
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in its 100 years of filmmaking,
and so this is absolutely groundbreaking.
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Uh, Kugali, a full-on production
of this scale
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was, quite frankly, something
that was a little bit out of our depth.
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And is our creativity
going to be swallowed by this behemoth?
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But I think it's important
to take a leap of faith.
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Walt Disney himself believed
in taking risks, innovating all the time,
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and so I don't think that for a second
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we said we can't take this risk,
or shouldn't.
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{\an8}I have secretly dubbed this project,
"the virgin suicides".
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{\an8}'Cause that's what it is!
'Cause it's like everybody's first time.
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{\an8}Everyone is a first-time leader,
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{\an8}and everyone wants
to put their best foot forward.
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{\an8}Everyone's leaning on each other
to amplify.
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You were hired for a reason,
I was hired for a reason.
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We all know what we're doing individually
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so how do we bring that collectively?
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This is either gonna end really well
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or it's gonna end really badly.
Let's start by saying that, right?
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Let's see what happens!
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He'll like all of this, right?
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[chirping, beeping]
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[Adeola] One of the things
I've always wanted to do,
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particularly living here in the UK,
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is to try to give people
a more accurate understanding
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of what life is like back home.
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Iwájú is a love letter to Lagos,
but there's a degree of imposter syndrome.
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This is my first time as a screenwriter,
as a director.
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What if, you know, I don't do a good job.
What if I fail?
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My father was an entrepreneur.
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You know, he started a bank
in Nigeria in the '90s.
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And a lot of his achievements
have been met
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with a lot of praise and critical acclaim.
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You know, in many respects,
he's always been my hero.
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He's always been the person
I've wanted to be most like.
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Um, you know, it hasn't been all smooth.
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There's definitely been
a lot of emotional conflict.
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Do you like living in this house,
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eating this food
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and wearing nice clothes? Hmm?
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Omotola Martins, I am speaking to you.
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- Good.
- [metallic rattling]
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Because mediocrity is not an option.
230
00:13:37,567 --> 00:13:42,614
There are many elements of my dad
in Tunde in the sense of his philosophy
231
00:13:42,697 --> 00:13:48,161
which is you need to be able
to stand on your own two feet
232
00:13:48,244 --> 00:13:52,624
and provide for yourself.
That's the most important thing.
233
00:13:56,878 --> 00:14:03,218
And the price for that is to work
extremely hard and to be very focused.
234
00:14:05,637 --> 00:14:08,223
When that's drilled into you,
you know, constantly
235
00:14:08,306 --> 00:14:11,267
and you're just a little child
trying to, sort of, play around
236
00:14:11,351 --> 00:14:14,896
and it's like,
"No. Discipline. Fortitude."
237
00:14:14,979 --> 00:14:17,941
There's almost a sort of, like,
militaristic component.
238
00:14:18,024 --> 00:14:22,987
My father's constant attempts to instill
the value of discipline upon me
239
00:14:23,071 --> 00:14:28,284
is what allowed me to thrive
doing martial arts.
240
00:14:28,993 --> 00:14:33,081
It just really resonated with me
because that was already a philosophy
241
00:14:33,164 --> 00:14:36,501
that had been baked into me
from a very young age.
242
00:14:41,047 --> 00:14:43,091
But on a deeper level,
243
00:14:43,174 --> 00:14:46,219
martial arts is just another
form of artistry and creative expression.
244
00:14:46,302 --> 00:14:50,974
There's something about
being able to move and expel force
245
00:14:51,057 --> 00:14:53,685
really helps me to face my creativity
246
00:14:53,768 --> 00:14:57,188
with as much enthusiasm and passion
as I can muster.
247
00:15:06,948 --> 00:15:10,577
Think what always helps in--
especially for the team all the time,
248
00:15:10,660 --> 00:15:12,829
and we kind of say it's like,
"what's the true north?" Which is…
249
00:15:12,912 --> 00:15:15,248
[Adeola] Working with Jenn Lee,
250
00:15:15,331 --> 00:15:18,752
I have an opportunity to watch
a master in action.
251
00:15:18,835 --> 00:15:22,881
I used to play a lot of video games
when I was younger
252
00:15:22,964 --> 00:15:28,178
and in video games, in a lot of them, you
have a character that kind of levels up
253
00:15:28,261 --> 00:15:30,555
and you gain what's called EXP points,
254
00:15:30,638 --> 00:15:34,642
so working with Jenn Lee has been--
has given me a lot of EXP points
255
00:15:34,726 --> 00:15:36,853
that I probably otherwise
wouldn't have gotten.
256
00:15:37,562 --> 00:15:42,442
So, I mean, I think the most important
things, for me and the story thematically,
257
00:15:42,942 --> 00:15:47,739
is, or are, exploring income inequality…
258
00:15:47,822 --> 00:15:50,492
[Lee] As a writer and a director,
he has vision.
259
00:15:50,575 --> 00:15:53,495
He knows character, he knows emotion.
260
00:15:54,079 --> 00:15:58,500
He comes with storytelling talent
that's very deep but also very original
261
00:15:58,583 --> 00:16:00,919
and that's another thing
that I think is critical.
262
00:16:02,337 --> 00:16:04,631
That there's a point of view
that stands out.
263
00:16:04,714 --> 00:16:07,092
That's incredible, so I mean, I literally…
264
00:16:07,717 --> 00:16:13,598
[Adeola] So it's like if someone
with her credentials is saying it's good,
265
00:16:13,682 --> 00:16:17,644
then maybe some of my self-doubt
is actually just me being
266
00:16:17,727 --> 00:16:19,646
a little too self-indulgent.
267
00:16:19,729 --> 00:16:24,109
[Lee] I feel like in my career,
um, folks took risks on me.
268
00:16:24,192 --> 00:16:27,195
Bob Iger included,
when he gave me this position
269
00:16:27,278 --> 00:16:30,490
and we've had multiple conversations
about that responsibility.
270
00:16:30,573 --> 00:16:34,369
When you see talent, you have
a responsibility to nurture it.
271
00:16:34,452 --> 00:16:38,665
You have a responsibility
to give folks opportunities
272
00:16:38,748 --> 00:16:44,212
to push them into a place where
they get to grow and learn their craft.
273
00:16:45,588 --> 00:16:48,717
[Ibrahim] My role in Iwájú is one of
the creators and the production designer.
274
00:16:48,800 --> 00:16:52,262
I'm in charge of all the visuals coming
from the show, and the world-building.
275
00:16:52,345 --> 00:16:56,016
When I say "world,"
I mean every single thing.
276
00:16:56,099 --> 00:16:58,226
So I mean the plants
that are gonna be there,
277
00:16:58,309 --> 00:17:00,729
what kind of building it is,
the architectural type,
278
00:17:00,812 --> 00:17:01,980
what they use to build.
279
00:17:02,063 --> 00:17:05,650
How the people dress, how the people look.
The different skin tones.
280
00:17:08,486 --> 00:17:09,988
I don't live in Lagos, right?
281
00:17:10,071 --> 00:17:14,367
Although Uganda and Lagos have a lot of
similarities in the way we look at things,
282
00:17:14,451 --> 00:17:16,953
so that tends to help my vision
a little bit as well.
283
00:17:17,912 --> 00:17:21,833
It's also making sure you present it
in a very interesting way
284
00:17:21,916 --> 00:17:24,044
that will kind of stick to people's minds.
285
00:17:29,257 --> 00:17:31,676
- Hello!
- Hello.
286
00:17:31,760 --> 00:17:34,179
- [Ibrahim] Mom has been living in the UK.
- How are you?
287
00:17:34,262 --> 00:17:36,806
- Fine, thank you. How are you?
- I'm all right, thank you.
288
00:17:36,890 --> 00:17:37,724
How have you been?
289
00:17:37,807 --> 00:17:41,311
I grew up with my grandma looking after
us. Grandma, big, big family home.
290
00:17:41,394 --> 00:17:43,730
Whole bunch of aunties and uncles
looking after us.
291
00:17:44,356 --> 00:17:45,940
I moved to the UK in 2011
292
00:17:46,024 --> 00:17:50,612
because I was just about to turn 18
and the visa I got was a child visa.
293
00:17:51,237 --> 00:17:58,119
So I got about two weeks' notice
that I'm gonna move from Uganda to London.
294
00:18:00,872 --> 00:18:03,291
I remember the day his visa was through.
295
00:18:03,958 --> 00:18:07,337
{\an8}When I rang him and told him,
he was really happy.
296
00:18:07,420 --> 00:18:11,424
It was such a big relief for me
'cause I was really missing him.
297
00:18:11,508 --> 00:18:15,011
As a mother, you do want, of course,
all your children to be with you.
298
00:18:15,845 --> 00:18:18,848
Uh, he came in, we settled in well.
299
00:18:18,932 --> 00:18:23,103
We were really happy and comfortable,
although we were a bit squeezed.
300
00:18:23,186 --> 00:18:25,146
[Ibrahim] I didn't even think we're poor,
that's the funny thing.
301
00:18:25,230 --> 00:18:27,273
But in my head, I was like,
"Oh, we're fine. We got food.
302
00:18:27,357 --> 00:18:28,400
We're happy. We're laughing."
303
00:18:28,483 --> 00:18:30,068
To me it felt like we were fine.
304
00:18:30,151 --> 00:18:33,905
The first thing was look for a college
for him to go to.
305
00:18:33,988 --> 00:18:36,574
So I told him, "Let's go
to a STEM college."
306
00:18:36,658 --> 00:18:41,454
When we went there, he had all his
certificates and all his other drawings.
307
00:18:41,538 --> 00:18:44,749
The teacher was asking,
"What would you like to study?"
308
00:18:44,833 --> 00:18:50,672
So, I said, "Oh, I think he would like
to do some engineering or some, you know,"
309
00:18:51,172 --> 00:18:54,342
but they said, "No, stop.
I'm asking Hamid.
310
00:18:54,426 --> 00:18:56,511
It's him who should tell me
what he wants."
311
00:18:57,554 --> 00:19:02,684
When Hamid was about six years old,
whenever I would be cleaning the house
312
00:19:02,767 --> 00:19:05,228
I would find some small little books.
313
00:19:05,311 --> 00:19:07,355
And there are some drawings in them.
314
00:19:07,439 --> 00:19:08,523
I would throw them away.
315
00:19:08,606 --> 00:19:12,068
"You always cutting your books and making
some drawings here. What are you drawing?"
316
00:19:12,610 --> 00:19:16,489
Because in my head, as an African mam,
317
00:19:16,573 --> 00:19:19,576
the drawing or doing art is nothing.
318
00:19:19,659 --> 00:19:23,955
He should study how to become a doctor,
engineer, you know, those other things.
319
00:19:24,539 --> 00:19:27,167
I was so surprised and he was really happy
320
00:19:27,250 --> 00:19:29,294
because he chose
what he really wanted to do.
321
00:19:29,377 --> 00:19:32,547
And that's what made him to be
where he is now.
322
00:19:32,630 --> 00:19:37,469
I'm very proud of him.
I'm happy for him to be where he is.
323
00:19:50,982 --> 00:19:55,695
On Iwájú, I'm a creator
and the cultural consultant.
324
00:19:57,322 --> 00:19:59,949
{\an8}There are certain things
that if we don't get right,
325
00:20:00,033 --> 00:20:03,203
{\an8}or if it's not 100% accurate to real life,
326
00:20:03,286 --> 00:20:06,289
{\an8}people are going to come for me
in particular,
327
00:20:06,373 --> 00:20:09,167
{\an8}because they're like,
"Tolu, you had one job."
328
00:20:11,252 --> 00:20:16,758
I'd never had dreams of going
into animation or working with Disney.
329
00:20:16,841 --> 00:20:19,678
I had dreams of making video games.
330
00:20:19,761 --> 00:20:21,096
I love games.
331
00:20:21,179 --> 00:20:24,724
I love The Legend of Zelda,
Super Smash Bros.
332
00:20:24,808 --> 00:20:26,476
I love Metal Gear Solid.
333
00:20:27,143 --> 00:20:29,771
I love playing these things.
334
00:20:30,689 --> 00:20:34,317
I've ended up doing even more
than what I intended
335
00:20:34,401 --> 00:20:37,612
because now I'm-- I've done comics,
I've done animation.
336
00:20:37,696 --> 00:20:39,447
I'm still going to do games.
337
00:20:43,243 --> 00:20:50,166
So my dad is a very traditional person
in certain areas
338
00:20:50,250 --> 00:20:54,379
but he's also very individualistic.
339
00:20:54,462 --> 00:20:57,590
He doesn't, you know, follow the crowd.
340
00:20:59,676 --> 00:21:01,469
- [Olowofoyeku groans, laughs]
- Whoo!
341
00:21:01,553 --> 00:21:02,554
Tolu.
342
00:21:03,471 --> 00:21:06,307
{\an8}What Tolu was like a boy, well,
343
00:21:06,391 --> 00:21:12,397
{\an8}he was very curious.
Uh, he studied everything.
344
00:21:12,480 --> 00:21:17,068
Whatever he had a passion for,
I gave him some support there.
345
00:21:17,152 --> 00:21:20,613
[Olowofoyeku] He's okay with me
doing certain things
346
00:21:20,697 --> 00:21:25,201
that I know that many other
Yoruba parents would just not allow.
347
00:21:25,285 --> 00:21:29,414
[Kole] It is a very Nigerian thing.
You had to have very good education.
348
00:21:29,497 --> 00:21:33,001
This is the engineer, you know.
This is the doctor.
349
00:21:33,084 --> 00:21:37,714
You know, this is the chartered
accountant. This is the professor.
350
00:21:37,797 --> 00:21:40,342
You know, that's Nigerian mentality.
351
00:21:40,425 --> 00:21:42,135
[Olowofoyeku] He wanted me
to be able to just, you know,
352
00:21:42,218 --> 00:21:44,387
get an engineering job or something.
353
00:21:44,471 --> 00:21:49,059
But he still supported me
when I was chasing my dream.
354
00:21:49,142 --> 00:21:50,268
He didn't stop me.
355
00:21:52,937 --> 00:21:55,648
[Kole] And I learned from my father
356
00:21:55,732 --> 00:21:59,444
not to force children to do things.
357
00:22:00,153 --> 00:22:04,074
I also thought it was a great idea.
I also thought he had the talent.
358
00:22:04,157 --> 00:22:05,658
And so I said, "Let's see."
359
00:22:09,537 --> 00:22:10,997
- Game.
- Yeah.
360
00:22:11,081 --> 00:22:12,582
[both laughing]
361
00:22:17,379 --> 00:22:20,924
Africa has some of the best stories,
some of the most diverse stories.
362
00:22:21,007 --> 00:22:22,967
So many cultures with so many of us.
363
00:22:23,051 --> 00:22:24,678
It's the birthplace of humanity.
364
00:22:29,140 --> 00:22:34,979
There is just this expectation people have
of the media coming out of Nigeria,
365
00:22:35,063 --> 00:22:36,940
coming out of Africa,
366
00:22:37,023 --> 00:22:42,320
and right from when we started Kugali,
one of our goals was to break that.
367
00:22:42,404 --> 00:22:48,159
You know, as Kugali, we are-- we're
inherently innovative in our approach.
368
00:22:48,243 --> 00:22:53,498
That audacity to really approach
storytelling on our own terms
369
00:22:53,581 --> 00:22:55,166
and in our own way,
370
00:22:55,250 --> 00:22:58,420
I think is going to make
this project quite different.
371
00:22:59,045 --> 00:23:01,589
[Olowofoyeku] There's this thing
they say in Nigeria,
372
00:23:01,673 --> 00:23:04,092
"You tried, sha." Or, "They tried, sha."
373
00:23:04,175 --> 00:23:09,723
"Sha" is kind of like, um,
"Well, it's not so bad. It's okay."
374
00:23:10,640 --> 00:23:14,352
Nobody's going to look at my work
and say, "They tried, sha."
375
00:23:18,440 --> 00:23:21,526
{\an8}My role as a producer on the show
is very much like curling.
376
00:23:25,363 --> 00:23:29,409
You're furiously, furiously sweeping
against the stone to carve a path
377
00:23:29,492 --> 00:23:30,994
but you can't actually touch the stone.
378
00:23:31,077 --> 00:23:34,456
So, similar to how
I can't write the dialogue,
379
00:23:34,539 --> 00:23:37,667
I can't animate the characters
and I can't light the scenes.
380
00:23:37,751 --> 00:23:42,088
But it's effectively doing as much as
you can around the actual creative entity
381
00:23:42,172 --> 00:23:45,425
without being able to do
the actual creative work yourself.
382
00:23:51,222 --> 00:23:53,516
The biggest thing right now
is just gonna be the choreography.
383
00:23:53,600 --> 00:23:58,772
I've always been interested in films,
whether it be feature films, or television
384
00:23:58,855 --> 00:24:00,190
and even any type of storytelling.
385
00:24:00,857 --> 00:24:04,110
I lucked out
and started on the finance side
386
00:24:04,194 --> 00:24:07,864
from Big Hero Six to Moana,
then to Frozen II.
387
00:24:07,947 --> 00:24:10,325
And then this fantastic opportunity
came up
388
00:24:10,408 --> 00:24:12,160
and there was no way I could turn it down,
389
00:24:12,243 --> 00:24:14,162
- Take care. Talk to you later. Bye.
- Ciao.
390
00:24:16,122 --> 00:24:19,209
We have artists in Africa,
we're working with people in Montreal
391
00:24:19,292 --> 00:24:22,921
and in London and in Paris
and in Los Angeles.
392
00:24:24,255 --> 00:24:25,757
It's definitely not normal.
393
00:24:31,471 --> 00:24:33,473
[cars honking]
394
00:24:36,267 --> 00:24:38,395
[Chen] Outside of the Zoom box
and everything!
395
00:24:38,478 --> 00:24:39,312
I know, right?
396
00:24:39,396 --> 00:24:40,814
- Oh, my goodness.
- How are you doing?
397
00:24:40,897 --> 00:24:42,774
- So good to see you.
- Really good to see you too.
398
00:24:42,857 --> 00:24:44,693
- Good.
- Yeah. It's crazy. It's crazy.
399
00:24:44,776 --> 00:24:45,985
I can't even believe it.
400
00:24:46,069 --> 00:24:49,989
[Chen] So we've been working
a little over six months together
401
00:24:50,073 --> 00:24:52,158
on Zoom before we actually met in person.
402
00:24:52,242 --> 00:24:54,828
- [Adeola] How are you doing?
- [Christina] Oh, my goodness.
403
00:24:54,911 --> 00:24:57,622
Ziki in the flesh. Can we do a hug?
404
00:24:58,206 --> 00:25:00,417
It's good to see you.
It's good to meet you.
405
00:25:00,500 --> 00:25:01,584
Yeah, it's good to meet you too.
406
00:25:01,668 --> 00:25:04,129
[Chen] I think for us,
the biggest struggle's always time.
407
00:25:04,212 --> 00:25:07,090
It's the time zones,
it's everyone being separated.
408
00:25:07,173 --> 00:25:09,009
Everyone's coming
from not only a different time zone,
409
00:25:09,092 --> 00:25:11,469
but a different location
and different mind-set.
410
00:25:11,553 --> 00:25:14,347
And we're still trying to maintain
that level of quality
411
00:25:14,431 --> 00:25:15,890
at filmmaking and storytelling.
412
00:25:18,268 --> 00:25:22,480
[Adeola] Of everyone in the team,
Tolu has the closest ties to Lagos.
413
00:25:22,564 --> 00:25:26,651
He was born there, he's grown up there
and continues to live there today.
414
00:25:26,735 --> 00:25:29,863
{\an8}So he really provided insights
415
00:25:29,946 --> 00:25:35,452
{\an8}as to how to make the show
as culturally accurate as possible.
416
00:25:35,535 --> 00:25:41,875
{\an8}As the cultural consultant,
I am saying this thing is very Lagos.
417
00:25:41,958 --> 00:25:43,543
{\an8}This way of doing things.
418
00:25:43,626 --> 00:25:48,131
{\an8}This is so Lagos and I want it to be in
the story, like, it has to come through.
419
00:25:48,214 --> 00:25:51,509
[Olowofoyeku] Let's get right into
whatever questions are ready…
420
00:25:51,593 --> 00:25:54,888
[Adeola] One of the ways
that he's doing this
421
00:25:54,971 --> 00:25:59,434
is by having a weekly segment
called Wetin Dey Happen?
422
00:25:59,517 --> 00:26:04,314
"Wetin dey happen?" just means
"What's happening?" or "What's popping?"
423
00:26:04,397 --> 00:26:05,482
"What's going on?"
424
00:26:05,565 --> 00:26:10,779
It's pidgin. It's pidgin English,
which is spoken widely in Lagos.
425
00:26:10,862 --> 00:26:13,865
Oh, Tolu's Wetin Dey Happen
meetings are incredible.
426
00:26:13,948 --> 00:26:18,411
Anyone can ask any question.
He is our eyes into Lagos, Nigeria.
427
00:26:18,495 --> 00:26:24,042
What is different about going to school,
specifically for, like, a ten-year-old
428
00:26:24,125 --> 00:26:26,086
on the island versus the mainland?
429
00:26:26,169 --> 00:26:30,924
It's one of the most fun sessions.
It's very unstructured.
430
00:26:31,007 --> 00:26:33,802
It's more like, "What do you guys
want to know?"
431
00:26:33,885 --> 00:26:35,804
And then I tell them wetin dey happen.
432
00:26:35,887 --> 00:26:38,515
Are young people worried
about their outward appear…
433
00:26:38,598 --> 00:26:41,226
Do you see kids, sort of, walking
in like a group to…
434
00:26:41,309 --> 00:26:43,436
…any coming-of-age type traditions?
435
00:26:43,520 --> 00:26:44,646
I was wondering if there is any…
436
00:26:44,729 --> 00:26:49,067
They've asked way more questions
than most people ever bother to ask,
437
00:26:49,150 --> 00:26:50,777
even about their own cultures.
438
00:26:51,277 --> 00:26:54,698
And Tolu eventually started filming
everything that he saw outside of his car
439
00:26:54,781 --> 00:26:56,825
while he was driving around the city.
440
00:26:56,908 --> 00:26:59,953
[Olowofoyeku] What you're seeing now
is, like, blocks of flats,
441
00:27:00,036 --> 00:27:03,164
plazas and schools…
442
00:27:03,248 --> 00:27:06,543
{\an8}This is what kekes really look like,
this is what puff puff looks like.
443
00:27:06,626 --> 00:27:09,004
This is what people in the markets
sound like.
444
00:27:09,087 --> 00:27:11,548
[Olowofoyeku] Of course somebody's going
in the wrong direction.
445
00:27:11,631 --> 00:27:12,799
Of course. I mean, why not.
446
00:27:12,882 --> 00:27:14,843
- [car honks]
- Are we not in Lagos.
447
00:27:14,926 --> 00:27:17,012
{\an8}Here's what a gatesman's house looks like.
448
00:27:17,095 --> 00:27:21,599
[Olowofoyeku] This is the gatesman's
house. Always right next to the gate.
449
00:27:21,683 --> 00:27:24,269
He's like, literally, like,
boots on the ground.
450
00:27:24,352 --> 00:27:26,771
This is not us making up a world.
451
00:27:26,855 --> 00:27:31,693
This is us doing our best
to portray a very real world
452
00:27:31,776 --> 00:27:34,863
and we wanna get
every single detail right.
453
00:27:35,530 --> 00:27:37,615
[Olowofoyeku] You know,
the little things like
454
00:27:37,699 --> 00:27:42,412
the biggest mall in the world is in
Nigeria. It's in the streets of Lagos.
455
00:27:42,495 --> 00:27:44,456
It's the traffic in Lagos.
456
00:27:44,539 --> 00:27:45,915
[Ibrahim] Phone charger!
457
00:27:45,999 --> 00:27:46,833
Come here, yes.
458
00:27:47,417 --> 00:27:48,293
'Ey!
459
00:27:48,376 --> 00:27:50,003
[Olowofoyeku] People
sell things in traffic.
460
00:27:50,086 --> 00:27:53,673
Look at you smiling, you know! You know
you're giving me a high price! [laughs]
461
00:27:53,757 --> 00:27:56,176
Pay? For a lizard?
462
00:27:56,259 --> 00:28:01,556
Those type of little details, those are
the things I'm trying to put out there.
463
00:28:01,639 --> 00:28:05,727
I want people to see the good, the bad,
the ugly, you know. All the quirks.
464
00:28:06,353 --> 00:28:08,688
{\an8}[Patrick] The particular scene
I'm working on now,
465
00:28:08,772 --> 00:28:14,736
{\an8}Tola and Kole visit the market place
for the first time.
466
00:28:14,819 --> 00:28:21,743
As a story artist, trying to bring that
authenticity to a project about Nigeria,
467
00:28:21,826 --> 00:28:26,790
somewhere I've never been,
Tolu has been really helpful with that.
468
00:28:26,873 --> 00:28:30,168
Tolu's input is absolutely vital.
469
00:28:30,251 --> 00:28:33,421
I think you remove that,
Iwájú would not be Iwájú.
470
00:28:34,047 --> 00:28:36,591
And there's more art
that's gonna be coming for it as well
471
00:28:36,675 --> 00:28:38,760
that we'll be sure to pass along
to the story team.
472
00:28:38,843 --> 00:28:44,557
[Rawley] With animation, you are part of a
humongous creative collaboration team.
473
00:28:44,641 --> 00:28:46,142
And that is fantastic.
474
00:28:46,726 --> 00:28:47,644
At some point,
475
00:28:47,727 --> 00:28:50,480
{\an8}these contributions
that the animators are making,
476
00:28:50,563 --> 00:28:53,983
{\an8}the layout artists are making,
they all end up in the cutting room.
477
00:28:55,110 --> 00:28:57,612
I am the lead editor on Iwájú,
478
00:28:57,696 --> 00:29:01,658
helping the director create the story
in the cutting room.
479
00:29:02,784 --> 00:29:03,618
- Hi.
- Hi, Ziki.
480
00:29:03,702 --> 00:29:05,036
- How's it going?
- Good.
481
00:29:05,120 --> 00:29:06,121
- [Christina] Hello.
- Hey, hi.
482
00:29:06,204 --> 00:29:07,914
Working with her, I've learned a lot.
483
00:29:07,997 --> 00:29:12,002
I find it really easy
to relate with her as well.
484
00:29:12,585 --> 00:29:14,629
Yeah, if we went basically from "uh-oh"
485
00:29:14,713 --> 00:29:17,632
and lost all this
table-flying-around business.
486
00:29:17,716 --> 00:29:18,758
[Adeola] Mm-hmm.
487
00:29:18,842 --> 00:29:22,554
And then this would all work.
Then he could fling him across the room.
488
00:29:23,138 --> 00:29:25,348
Yeah. I think if we just
get rid of the table
489
00:29:25,432 --> 00:29:28,685
and, you know, all the other tantrums,
this might work.
490
00:29:28,768 --> 00:29:32,105
So Ziki is rather stoic character.
491
00:29:32,188 --> 00:29:35,900
He will absorb everything
and he thinks about it.
492
00:29:35,984 --> 00:29:39,154
Maybe when he's on the phone,
he's like scanning the room
493
00:29:39,237 --> 00:29:41,031
and then he has his eyes on Sunday.
494
00:29:41,906 --> 00:29:45,493
And then it's a much more narrow focus.
495
00:29:46,077 --> 00:29:48,705
Yeah. Yeah, yeah.
I think that's a good idea.
496
00:29:48,788 --> 00:29:51,249
[Rawley] It's the safest place,
I think, on the show.
497
00:29:51,332 --> 00:29:53,501
We can try anything, do anything.
498
00:29:53,585 --> 00:29:55,420
[Rawley] This just-- It's such a…
499
00:29:55,503 --> 00:29:58,590
[Rawley] Laugh, joke, whatever.
And I try and cultivate that
500
00:29:58,673 --> 00:29:59,841
as much as possible.
501
00:30:01,301 --> 00:30:02,719
What's up, Ziki. How are you?
502
00:30:02,802 --> 00:30:04,721
- Yeah, I'm good. How are you doing?
- I'm all right. I've…
503
00:30:04,804 --> 00:30:08,266
[Adeola] Working with Halima
has been interesting.
504
00:30:08,350 --> 00:30:13,521
I've never really worked
with anyone as a co-writer.
505
00:30:13,605 --> 00:30:17,525
As far as, like, a structure,
I think it makes sense.
506
00:30:17,609 --> 00:30:20,820
She's been essential
because it's a lot of responsibility,
507
00:30:20,904 --> 00:30:24,157
carrying both the directorial
and writing responsibilities,
508
00:30:24,240 --> 00:30:27,619
so I think she's taking
a huge load off of my shoulders.
509
00:30:27,702 --> 00:30:31,456
[Adeola] What I did is I put
some options of what Dami said…
510
00:30:31,539 --> 00:30:34,626
[Hudson] He's been really great
about making himself available
511
00:30:34,709 --> 00:30:36,336
to answer any questions
512
00:30:36,419 --> 00:30:38,963
and give really thoughtful notes on pages
513
00:30:39,047 --> 00:30:43,843
explaining why from a cultural lens,
it would need to be a certain way.
514
00:30:43,927 --> 00:30:46,471
[Adeola] All right, all right, I've got
your back. We'll get through it.
515
00:30:46,554 --> 00:30:47,681
Thank you.
516
00:30:48,431 --> 00:30:50,850
{\an8}I have known Halima's writing
for a long time
517
00:30:50,934 --> 00:30:54,813
{\an8}and she's a phenomenal writer,
especially with character.
518
00:30:54,896 --> 00:30:57,107
- [Lee] This is my Shakespeare pen…
- Your Shakespeare pen?
519
00:30:57,190 --> 00:31:02,320
Jenn and I began at the studio
at the same time, and on the same project.
520
00:31:02,404 --> 00:31:03,738
She was writing for Wreck-It Ralph.
521
00:31:03,822 --> 00:31:05,573
I was the production secretary
for Wreck-It Ralph.
522
00:31:05,657 --> 00:31:07,617
So I told her I was a writer and,
523
00:31:07,701 --> 00:31:10,704
you know, we just kinda started
a relationship like that.
524
00:31:10,787 --> 00:31:14,457
Okay. I love what you're going for.
Here's the thing. I love…
525
00:31:14,958 --> 00:31:16,960
You know, I always
was checking in with her, like,
526
00:31:17,043 --> 00:31:19,004
"I'm writing this,
can you read it? What do you think?"
527
00:31:19,087 --> 00:31:21,631
And she would give notes on scripts
that I was writing, give advice.
528
00:31:22,215 --> 00:31:23,299
I have a couple suggestions…
529
00:31:23,383 --> 00:31:24,342
[sighs]
530
00:31:24,426 --> 00:31:25,927
…just of some stuff. Don't sigh.
531
00:31:26,011 --> 00:31:26,845
[both laugh]
532
00:31:26,928 --> 00:31:30,056
Oh, you heard that?
I thought that was an internal…
533
00:31:30,765 --> 00:31:34,811
On Zoom, the sighs are more subtle,
but not in person.
534
00:31:36,146 --> 00:31:39,274
This is all happening in real time
and so it's just like,
535
00:31:39,357 --> 00:31:42,527
"Okay, we're gonna try this and
if it doesn't work, we're gonna pivot."
536
00:31:42,610 --> 00:31:46,364
You know what I mean, and I think
it's just been learning as we go.
537
00:31:46,448 --> 00:31:50,577
And that's been stressful.
And fun. But stressful.
538
00:31:51,119 --> 00:31:53,705
And fun.
539
00:31:59,544 --> 00:32:02,672
[Olowofoyeku] Nigeria has
over 300 languages
540
00:32:02,756 --> 00:32:07,385
but the major language is Yoruba.
Igbo. Hausa.
541
00:32:08,261 --> 00:32:11,306
Lagos just happens to be a Yoruba state.
542
00:32:12,807 --> 00:32:17,145
When we wanted to name the show, just like
when we wanted to name our company,
543
00:32:17,228 --> 00:32:20,190
we wanted a name
that would be easy to pronounce.
544
00:32:20,273 --> 00:32:23,651
Ziki wanted the title
to reflect the future.
545
00:32:24,235 --> 00:32:27,030
"Future" in Yoruba would be Ojo Iwájú
546
00:32:27,113 --> 00:32:30,825
which translates to, "The day in front"
or, "The day ahead."
547
00:32:30,909 --> 00:32:34,746
We just took out the Ojo
and called it Iwájú.
548
00:32:34,829 --> 00:32:39,167
This story allows us
to envision a future for Lagos.
549
00:32:39,250 --> 00:32:41,961
To envision a way forward.
550
00:32:42,045 --> 00:32:43,380
Wow!
551
00:32:43,463 --> 00:32:46,633
The average person in Lagos
speaks English,
552
00:32:48,176 --> 00:32:51,054
probably a bit of Yoruba
and then pidgin English.
553
00:32:51,137 --> 00:32:55,350
I no fit go where I dey stay,
and with my oga. Lie lie.
554
00:32:55,433 --> 00:32:59,771
Pidgin English is the one language
that unites the whole of West Africa.
555
00:32:59,854 --> 00:33:00,730
Not just Nigeria.
556
00:33:00,814 --> 00:33:04,359
My madam don turn ten. How I go forget?
557
00:33:04,442 --> 00:33:06,820
Almost all of us can speak pidgin English.
558
00:33:06,903 --> 00:33:08,029
There is no way,
559
00:33:08,113 --> 00:33:13,410
no way I am going to let us do a story
in Lagos and they don't speak pidgin.
560
00:33:13,493 --> 00:33:15,078
I get plenty work to do.
561
00:33:15,161 --> 00:33:16,413
I no fit play today.
562
00:33:16,996 --> 00:33:19,332
The language in Iwájú is very intentional
563
00:33:19,416 --> 00:33:22,752
{\an8}because we want to make sure
that everyone has a Yoruba dialect
564
00:33:22,836 --> 00:33:24,879
{\an8}and have it be really true to the people.
565
00:33:24,963 --> 00:33:28,633
So that when Nigerians are watching it
they can feel a level of kinship there.
566
00:33:28,717 --> 00:33:32,387
Even if we get voice actors
who are Nigerian, per se,
567
00:33:32,470 --> 00:33:37,183
if they've spent too much time in the US
or UK, they will not sound Nigerian.
568
00:33:37,267 --> 00:33:41,646
I mean, even Ziki doesn't sound Nigerian.
He sounds British.
569
00:33:41,730 --> 00:33:44,024
The casting process is really fun.
570
00:33:44,107 --> 00:33:49,821
We're working with a freelance
casting director in Lagos,
571
00:33:49,904 --> 00:33:51,239
Lala Akindoju.
572
00:33:51,322 --> 00:33:57,037
{\an8}The beautiful thing about Iwájú
is that it's very relatable to Nigeria.
573
00:33:57,120 --> 00:34:01,082
{\an8}So to find a project
that tells a story that is us,
574
00:34:01,166 --> 00:34:03,543
{\an8}that is authentic to us,
it's such a big deal.
575
00:34:03,626 --> 00:34:08,298
For Nigeria. And for the Nigerian movie
industry, popularly called "Nollywood".
576
00:34:08,381 --> 00:34:11,760
Uh, most of our cast,
I would say, over 90 percent,
577
00:34:11,843 --> 00:34:13,803
is actually based in Lagos, Nigeria.
578
00:34:13,887 --> 00:34:15,430
[Akindoju] They are homegrown talents,
579
00:34:15,513 --> 00:34:18,475
grew up here, trained here,
have been working here,
580
00:34:18,558 --> 00:34:20,977
and it feels like it's a time
to announce them.
581
00:34:22,604 --> 00:34:25,940
Now, our lead is a young-- young child.
582
00:34:26,024 --> 00:34:31,905
Tola. Ten years old. Has two friends.
Short. Has big hair.
583
00:34:31,988 --> 00:34:34,574
Goes to a private school.
That's such an important detail.
584
00:34:34,657 --> 00:34:39,579
So I had to reach out
to many schools' drama clubs.
585
00:34:39,662 --> 00:34:42,332
You never know when
you're going to stumble on magic.
586
00:34:42,415 --> 00:34:47,962
And I was very, I don't know, lucky
to have found Simi.
587
00:34:48,046 --> 00:34:50,340
[Gbadamosi] Hello,
my name is Simisola Gbadamosi
588
00:34:50,423 --> 00:34:52,676
and I'm reading the character of Tola.
589
00:34:52,759 --> 00:34:56,054
I was like, "Okay, girl.
Okay, okay, okay!"
590
00:34:56,137 --> 00:34:58,556
I was smiling the entire time.
591
00:34:58,640 --> 00:35:00,809
Tola, you just had to go.
592
00:35:00,892 --> 00:35:03,353
If you had just waited
until Daddy took you…
593
00:35:04,229 --> 00:35:06,398
I'm like, "This is her. This is Tola."
594
00:35:06,481 --> 00:35:08,191
"Yes! I won!"
595
00:35:08,274 --> 00:35:10,944
{\an8}She's pretty much me in animated form.
596
00:35:11,027 --> 00:35:12,946
{\an8}She's got sass.
597
00:35:13,029 --> 00:35:16,199
Cute, if this was yesterday.
598
00:35:16,282 --> 00:35:18,743
She's also kind of bossy sometimes.
599
00:35:18,827 --> 00:35:21,579
No games. All work.
600
00:35:21,663 --> 00:35:25,000
And it's my birthday, so no arguments.
601
00:35:25,083 --> 00:35:27,544
[Adeola] Simi, it was really fun
working with her.
602
00:35:27,627 --> 00:35:28,962
All right. Let's record.
603
00:35:29,045 --> 00:35:31,464
She takes directions extremely well.
604
00:35:31,548 --> 00:35:34,050
I have never done voice acting before.
605
00:35:34,134 --> 00:35:38,054
When I was three, I played a sheep
in my Christmas play.
606
00:35:38,138 --> 00:35:38,972
All right, Simi.
607
00:35:39,055 --> 00:35:42,600
For the last two reads, just add
a little bit of emphasis on "any".
608
00:35:42,684 --> 00:35:43,977
So, "any."
609
00:35:44,060 --> 00:35:49,107
I don't know why I'm here or what
you need. But I will not be any trouble.
610
00:35:49,190 --> 00:35:51,735
It took us a long time to find Tola
and everybody else,
611
00:35:51,818 --> 00:35:54,279
but it took us extra time to find Kole.
612
00:35:54,946 --> 00:35:59,284
Casting boys, I find, is more difficult,
613
00:35:59,367 --> 00:36:00,618
especially in Nigeria.
614
00:36:00,702 --> 00:36:04,748
There's just a handful and you don't have
a wide range. I find there are more women.
615
00:36:04,831 --> 00:36:10,253
When you wan give person
big, big things, but life say you no fit?
616
00:36:10,337 --> 00:36:15,759
When Siji came my way, he has a
laid-back kind of voice but it just works,
617
00:36:15,842 --> 00:36:18,845
and then when we place his voice
next to Simi's.
618
00:36:19,637 --> 00:36:20,638
It was perfect.
619
00:36:20,722 --> 00:36:23,683
[chuckles] You should be a lawyer
when you grow up, oh.
620
00:36:23,767 --> 00:36:25,935
Daddy would actually love that.
621
00:36:26,728 --> 00:36:31,608
I see different elements of myself
in all of the characters.
622
00:36:31,691 --> 00:36:36,571
Kole, who has a bit of a
social awkwardness to him,
623
00:36:36,654 --> 00:36:39,115
I can definitely relate to that.
624
00:36:39,199 --> 00:36:41,493
{\an8}Kole is a complex person.
625
00:36:41,576 --> 00:36:47,749
{\an8}He is a, kind of, shy individual. But when
he is given the opportunity to shine,
626
00:36:47,832 --> 00:36:51,252
or, kind of, relax with Tola,
he becomes a new person.
627
00:36:51,336 --> 00:36:52,712
Not bad.
628
00:36:53,380 --> 00:36:55,507
But you need to loosen your shoulder.
629
00:36:55,590 --> 00:36:58,760
I definitely see
that part of myself within Kole.
630
00:36:59,427 --> 00:37:03,807
This project, it's a big deal for
the Nigerian industry, for Nollywood.
631
00:37:03,890 --> 00:37:05,266
I'm very proud.
632
00:37:05,350 --> 00:37:08,186
The voices you're going to hear
are homegrown.
633
00:37:08,269 --> 00:37:10,980
I say I'm so honored
to be a part of Nollywood
634
00:37:11,064 --> 00:37:13,775
and I say the world should
look out for Nollywood.
635
00:37:13,858 --> 00:37:15,110
We're coming.
636
00:37:19,823 --> 00:37:21,199
[Chen] So, for us and the story,
637
00:37:21,282 --> 00:37:23,576
we're always trying to balance
the creative piece
638
00:37:23,660 --> 00:37:25,203
in terms of what's driving
the characters forward,
639
00:37:25,286 --> 00:37:27,455
{\an8}as well as a cultural authenticity.
640
00:37:27,539 --> 00:37:29,040
{\an8}And this came up consistently
641
00:37:29,124 --> 00:37:32,544
because as Halima's rewriting,
as she's taking her approach to it,
642
00:37:32,627 --> 00:37:35,588
and then Tolu, our cultural consultant,
will then look at the script
643
00:37:35,672 --> 00:37:38,675
and there are moments
when he does look at scenes
644
00:37:38,758 --> 00:37:42,345
and he, off the bat, will go,
"That doesn't feel Nigerian enough."
645
00:37:42,429 --> 00:37:47,809
{\an8}I want every part of it to feel Nigerian,
feel like it was created by Nigerians,
646
00:37:47,892 --> 00:37:53,523
{\an8}and not feel like it's Americans
doing the story
647
00:37:53,606 --> 00:37:55,734
{\an8}and then just consulting Nigerians
here and there.
648
00:37:55,817 --> 00:37:59,654
{\an8}To create a story that is a good story,
649
00:37:59,738 --> 00:38:03,616
{\an8}that people, no matter where they are,
will resonate with and love,
650
00:38:03,700 --> 00:38:08,371
but is so culturally specific,
and so you wanna keep it accurate,
651
00:38:08,455 --> 00:38:10,498
is not an easy dance.
652
00:38:10,582 --> 00:38:15,503
It is a dance where I am doing the tango,
and you are over here cha-cha sliding.
653
00:38:15,587 --> 00:38:16,629
We're not doing it together.
654
00:38:16,713 --> 00:38:20,342
And so it becomes just like,
what's the battle
655
00:38:20,425 --> 00:38:23,678
and what's the most important thing
that we're trying to say in this moment.
656
00:38:24,262 --> 00:38:27,849
Three, two, one. Record.
657
00:38:28,641 --> 00:38:33,188
[Hudson] Starting at line one.
So you'll be, "Kole abi, Tunde."
658
00:38:33,271 --> 00:38:36,524
"She must be following broda Sunday
to Bode's hideout."
659
00:38:36,608 --> 00:38:38,026
"Have you been there?"
660
00:38:38,109 --> 00:38:41,863
Halima would translate
certain things directly,
661
00:38:42,614 --> 00:38:44,657
the way it would work in America,
662
00:38:44,741 --> 00:38:47,077
and I'll be like,
"This just does not work."
663
00:38:47,160 --> 00:38:51,081
There was a line where I have
664
00:38:51,164 --> 00:38:55,502
Kole gets into the car with Tunde,
and he says,
665
00:38:55,585 --> 00:38:56,920
No, Oga.
666
00:38:57,003 --> 00:38:59,339
{\an8}Oga means "boss," right.
667
00:38:59,422 --> 00:39:02,133
And so we have Kole calling him that
throughout the whole series.
668
00:39:02,217 --> 00:39:04,052
And Tunde looks at him,
669
00:39:04,135 --> 00:39:07,555
and this is after he's found out
he's been a part of the kidnapping,
670
00:39:07,639 --> 00:39:10,725
and he says, "Don't call me that anymore."
671
00:39:10,809 --> 00:39:13,812
As to say, "I am not your boss anymore."
672
00:39:13,895 --> 00:39:17,273
{\an8}And Kole looks down
and he says, "Sorry Sa."
673
00:39:17,357 --> 00:39:18,775
{\an8}As in, "Sorry, sir."
674
00:39:18,858 --> 00:39:21,111
"Sorry. Sa."
675
00:39:21,194 --> 00:39:22,404
Perfect.
676
00:39:22,487 --> 00:39:24,781
And I'm like,
"That's gonna be a great moment,"
677
00:39:24,864 --> 00:39:27,867
because then later in the wrap-up,
and we're all happy again
678
00:39:27,951 --> 00:39:33,039
{\an8}and everybody's friends, I had
written it that Kole says, "Thank you Sa,"
679
00:39:33,123 --> 00:39:36,793
{\an8}and Tunde says, "Don't you mean Oga?"
680
00:39:37,752 --> 00:39:39,879
I thought it was great and then… [sighs]
681
00:39:39,963 --> 00:39:41,214
…enter Tolu.
682
00:39:41,297 --> 00:39:44,134
The feeling Halima
wanted to pass across there is,
683
00:39:44,217 --> 00:39:46,177
"No. Don't call me that. Not now."
684
00:39:46,261 --> 00:39:50,974
Because Tunde's angry at Kole for being
partly responsible for Tola's kidnapping.
685
00:39:51,057 --> 00:39:55,228
So Halima wanted to portray that.
"No. Don't call me that. Not now."
686
00:39:55,311 --> 00:39:57,731
But I told her, that doesn't track
687
00:39:57,814 --> 00:40:02,610
because Tunde will expect Kole
to call him Oga no matter the situation.
688
00:40:02,694 --> 00:40:04,696
It's not going to be like, "Oh,
I'm not happy with you now,
689
00:40:04,779 --> 00:40:05,947
so don't call me Oga."
690
00:40:06,031 --> 00:40:08,158
So I have to push back and tell her that,
691
00:40:08,241 --> 00:40:12,620
"The emotion you're trying to portray
here, it won't work in Nigeria."
692
00:40:12,704 --> 00:40:15,457
Let me tell you one thing
I want you to be doing.
693
00:40:15,540 --> 00:40:20,128
If you think,
"Na. The houseboy wouldn't say that.
694
00:40:20,211 --> 00:40:21,629
This is the way he would say it,"
695
00:40:21,713 --> 00:40:23,465
you can say it how it is in the script
696
00:40:23,548 --> 00:40:28,970
and then tell them, "I want to make
a suggestion. I want to do an alt."
697
00:40:29,054 --> 00:40:32,640
Because you know, at the end of the day,
they are Americans.
698
00:40:32,724 --> 00:40:37,437
They don't know how we say certain things
or how we interpret certain things.
699
00:40:37,520 --> 00:40:39,439
You do. You understand it.
700
00:40:39,522 --> 00:40:43,193
Feel free to make
suggestions or corrections.
701
00:40:44,194 --> 00:40:47,113
[Hudson] There has been a few lines
that I've really fought for
702
00:40:47,197 --> 00:40:49,949
but then ultimately it had to be, like,
it doesn't serve the story.
703
00:40:50,033 --> 00:40:51,368
So I have to let it go.
704
00:40:51,451 --> 00:40:55,455
Sometimes authenticity trumps stories.
705
00:40:55,538 --> 00:40:57,207
I have had to learn
706
00:40:57,290 --> 00:41:02,796
for it to not impact it
in such a way that the story suffers.
707
00:41:02,879 --> 00:41:05,799
Great. Perfect. Line seven.
708
00:41:05,882 --> 00:41:09,094
- So you want to see the real Lagos?
- Yes.
709
00:41:09,177 --> 00:41:11,805
No wahala.
But you have to do what I say, oh.
710
00:41:11,888 --> 00:41:13,306
Deal.
711
00:41:14,474 --> 00:41:16,476
[indistinct chattering]
712
00:41:20,939 --> 00:41:22,691
[vendor 1 speaks indistinctly]
713
00:41:22,774 --> 00:41:24,984
- [Kole] Ah.
- Ehen. You want my fine cap?
714
00:41:25,068 --> 00:41:29,280
[Adeola] Ajegunle is one
of the major locations in the story.
715
00:41:29,364 --> 00:41:32,826
It's where Tunde is from, it's where
Kole is from, it's where Bode is from
716
00:41:32,909 --> 00:41:38,957
{\an8}and it is actually a real place
on the mainland in Lagos.
717
00:41:48,341 --> 00:41:53,221
It's got the Boundary Market
which is beautiful in many, many ways.
718
00:41:54,305 --> 00:41:59,769
And it's got the real
authentic Nigerian feel as well.
719
00:41:59,853 --> 00:42:01,438
And it's got the chaos as well,
720
00:42:01,521 --> 00:42:06,901
so it was a great place for Tola
to go on a journey of discovery.
721
00:42:14,659 --> 00:42:18,204
I knew that I wanted the scenes
to take place in a market
722
00:42:18,288 --> 00:42:23,251
and then you just said, "Given
the geography of-- of, what makes sense,
723
00:42:23,335 --> 00:42:26,296
Ajegunle would be a good location
to have everything
724
00:42:26,379 --> 00:42:27,589
and then I was like, "Sure. Why not."
725
00:42:27,672 --> 00:42:29,799
- Really? I did?
- Yeah, you did.
726
00:42:29,883 --> 00:42:31,760
- Oh, I see--
- See, I give credit where credit is due.
727
00:42:31,843 --> 00:42:33,928
- I don't even know--
- [Ibrahim] I was gonna say.
728
00:42:34,012 --> 00:42:37,140
The majority of kidnappings
don't really happen on the island
729
00:42:37,223 --> 00:42:40,643
because the security is a lot more robust.
730
00:42:41,519 --> 00:42:44,439
It had to be a place
that was relatively dangerous
731
00:42:44,522 --> 00:42:46,608
and had a, you know, dangerous reputation.
732
00:42:46,691 --> 00:42:48,276
Go!
733
00:42:48,360 --> 00:42:52,072
So here, you know,
it's a lot easier to get lost
734
00:42:52,155 --> 00:42:55,241
and then to be found by the kidnappers,
735
00:42:55,325 --> 00:42:59,120
so it just made a lot of sense
to stage it in this particular area.
736
00:42:59,204 --> 00:43:01,748
And also, everyone's--
Even though there's people,
737
00:43:01,831 --> 00:43:06,002
everyone's so busy that no one's really
paying attention to what's going on.
738
00:43:06,795 --> 00:43:10,090
Kidnapping is a real issue in Nigeria.
739
00:43:13,885 --> 00:43:18,848
{\an8}In Falomo Bridge
there are a series of murals
740
00:43:18,932 --> 00:43:22,977
which are dedicated to the Chibok girls,
741
00:43:23,061 --> 00:43:26,981
who are a group of young girls
that were kidnapped
742
00:43:27,065 --> 00:43:31,736
several years ago by a group
known as Boko Haram.
743
00:43:32,320 --> 00:43:37,617
I picked kidnapping because
I thought it would shine a lens
744
00:43:37,701 --> 00:43:41,204
at the whole host of problems
that we don't like.
745
00:43:42,205 --> 00:43:44,457
On the political side of things,
746
00:43:44,541 --> 00:43:49,629
kidnappings are just often used
as a way for rebels or insurgents
747
00:43:49,713 --> 00:43:51,715
or people who call themselves
freedom fighters
748
00:43:51,798 --> 00:43:56,928
to combat what they believe is injustice
on the part of the government.
749
00:44:01,266 --> 00:44:03,476
- [headset beeping, chirping]
- Omotola Martins,
750
00:44:04,185 --> 00:44:07,856
your daddy has done well for himself.
751
00:44:09,566 --> 00:44:13,987
In Iwájú, the villain Bode believes
752
00:44:14,070 --> 00:44:18,283
that the wealthy have been hoarding
the wealth amongst themselves.
753
00:44:18,366 --> 00:44:23,329
And so he really thinks
that he's owed this money
754
00:44:23,413 --> 00:44:26,207
and it is meant to mirror
755
00:44:26,291 --> 00:44:31,171
what I imagine
a lot of Lagosian criminals are thinking.
756
00:44:32,088 --> 00:44:37,927
It is kind of a dark subject
and, actually,
757
00:44:38,011 --> 00:44:44,059
Disney Animation in particular
are quite good at more mature themes.
758
00:44:44,142 --> 00:44:46,561
[Lee] Throughout history
in Disney fairy tales,
759
00:44:46,644 --> 00:44:49,064
{\an8}they put us in great jeopardy
all the time.
760
00:44:50,148 --> 00:44:51,358
And fairy tales are there
761
00:44:51,441 --> 00:44:55,320
for us to learn to cope with situations
in life in a safe space
762
00:44:56,112 --> 00:45:00,575
and so Iwájú, for me, has always
been just like our other films
763
00:45:00,658 --> 00:45:04,996
and for the children in the audience,
we want to make sure they can feel safe
764
00:45:05,080 --> 00:45:07,540
to understand the focus of this story.
765
00:45:07,624 --> 00:45:13,004
So, especially with Tola's character,
in terms of every shot that she's in,
766
00:45:13,088 --> 00:45:16,966
when we're working with the kidnapping,
what kind of energy are we creating?
767
00:45:17,842 --> 00:45:22,555
[Adeola] I think we found ways
of presenting that kind of subject matter
768
00:45:22,639 --> 00:45:25,141
in a manner that isn't too traumatic.
769
00:45:25,225 --> 00:45:27,894
It's part of what we do,
770
00:45:27,977 --> 00:45:32,273
and we can create a discourse together
771
00:45:32,357 --> 00:45:36,319
to talk about these scary things
in life at times.
772
00:45:45,078 --> 00:45:47,539
♪ I've got gizmos and gadgets a-plenty ♪
773
00:45:47,622 --> 00:45:50,000
♪ I've got whozits and whatzits galore ♪
774
00:45:50,083 --> 00:45:54,337
{\an8}The Little Mermaid, I can sing
many of the songs word for word right now.
775
00:45:54,421 --> 00:45:59,926
♪ Wish I could be part of that world ♪
776
00:46:00,427 --> 00:46:03,054
When I watch Disney's movies,
777
00:46:03,138 --> 00:46:07,600
I mean, many of them you see, Hercules,
Greek legends, Mulan, China.
778
00:46:07,684 --> 00:46:11,855
They explore so many different cultures
and, to be honest,
779
00:46:11,938 --> 00:46:14,899
as a kid I think my introduction
to many of those cultures
780
00:46:14,983 --> 00:46:16,109
were from Disney movies.
781
00:46:16,192 --> 00:46:20,655
But, I mean, The Lion King
is Disney's big African story, right?
782
00:46:20,739 --> 00:46:26,661
And most of the actors and the writers,
they're mostly not African.
783
00:46:26,745 --> 00:46:32,500
But with our story the people
coming up with the ideas are African.
784
00:46:32,584 --> 00:46:36,212
We're Nigerian. Coming up
with the idea of a Nigerian story.
785
00:46:36,296 --> 00:46:38,798
And other songs are so much fun.
786
00:46:41,885 --> 00:46:44,095
{\an8}[Ibrahim] The reason I got into animation,
which is funny,
787
00:46:44,179 --> 00:46:45,347
{\an8}was Lion King.
788
00:46:45,430 --> 00:46:48,266
{\an8}And that's what inspired me
to fall in love with animation, right?
789
00:46:48,350 --> 00:46:53,146
Both the story it tells,
i.e. becoming who you're meant to be.
790
00:46:53,229 --> 00:46:56,066
That was one of
a pivotal thing in my life.
791
00:46:56,149 --> 00:47:00,320
And funny enough, Marlon West,
who is our VFX supervisor in Iwájú,
792
00:47:00,403 --> 00:47:01,780
worked on the original Lion King.
793
00:47:01,863 --> 00:47:07,327
I remember the first Zoom meeting I had
with him and I come on the screen
794
00:47:07,410 --> 00:47:12,415
{\an8}and he looks at my square
and then he looks to his other monitor,
795
00:47:12,499 --> 00:47:15,710
{\an8}and I could see him, like, IMDb me
[imitates typing sound]
796
00:47:15,794 --> 00:47:19,047
and he looks back, goes "Mmm."
797
00:47:19,589 --> 00:47:24,260
And so I was like, "Okay,
I cut mustard with this fellow."
798
00:47:24,844 --> 00:47:26,513
- [Ibrahim] Hey.
- What's going on, man?
799
00:47:26,596 --> 00:47:27,931
- It's good to see you.
- Good to see you.
800
00:47:28,014 --> 00:47:30,558
[Ibrahim] You meet him and he's
just a normal person. Really cool guy.
801
00:47:30,642 --> 00:47:33,228
Like just another person,
just another human being, right?
802
00:47:33,311 --> 00:47:34,437
I still don't believe it.
803
00:47:34,521 --> 00:47:36,856
You know, when you're seeing people
and you're like, "Is it really them?"
804
00:47:36,940 --> 00:47:38,274
- Actually don't believe it.
- It is.
805
00:47:38,858 --> 00:47:41,236
[West] I've always wanted to make movies.
806
00:47:41,319 --> 00:47:44,656
I got a movie camera, like,
for my 12th birthday.
807
00:47:44,739 --> 00:47:49,369
And also really into monster movies,
so I started doing stop motion animation.
808
00:47:49,869 --> 00:47:52,997
I mean, I've been at Disney for
a long time. Upwards of 30 years.
809
00:47:53,081 --> 00:47:55,500
I started here in the hand-drawn era
810
00:47:55,583 --> 00:47:58,837
and have been
head of effects since Atlantis
811
00:47:58,920 --> 00:48:00,672
all the way up through Encanto.
812
00:48:00,755 --> 00:48:04,342
Marlon's been
a part of our studio for decades.
813
00:48:04,426 --> 00:48:08,555
On a personal level, I had worked very
closely with him on Frozen and Frozen II
814
00:48:08,638 --> 00:48:09,723
as our head of effects.
815
00:48:10,432 --> 00:48:12,767
He's a very important leader
in our studio.
816
00:48:13,268 --> 00:48:15,770
- [Kole] What was that? Ooh.
- Turn around. Turn around.
817
00:48:15,854 --> 00:48:17,605
- I don't know what's in the outside, oh.
- [laughs]
818
00:48:17,689 --> 00:48:19,149
[gasping]
819
00:48:19,232 --> 00:48:21,067
[West] So I first heard about Iwájú
820
00:48:21,151 --> 00:48:24,070
from a studio update we had
with Clark and Jenn.
821
00:48:24,154 --> 00:48:28,199
And it just kinda started checking a lot
of boxes for me as a creative person.
822
00:48:28,283 --> 00:48:31,661
It was science fiction.
It was set in Africa.
823
00:48:31,745 --> 00:48:34,330
It was a crime story of sorts.
824
00:48:34,414 --> 00:48:40,420
He is someone, as a leader and a mentor,
who wants to help you get your vision out.
825
00:48:40,503 --> 00:48:43,131
He's the perfect person
to be there for Ziki,
826
00:48:43,214 --> 00:48:45,800
to help him and Hamid and Tolu,
827
00:48:45,884 --> 00:48:48,511
and help them understand our process.
He knew everything about it.
828
00:48:48,595 --> 00:48:50,096
[West] As visual effects supervisor,
829
00:48:50,180 --> 00:48:54,809
I'm creatively and artistically,
technically working with our filmmakers
830
00:48:54,893 --> 00:48:57,228
to figure out exactly how to make our film
831
00:48:57,312 --> 00:49:00,357
in the most efficient
and most beautiful way possible.
832
00:49:00,440 --> 00:49:02,192
So, if they are closer to the house,
833
00:49:02,942 --> 00:49:06,780
you know, we could either assume
that they've walked into that position
834
00:49:06,863 --> 00:49:09,991
from some other place or we can
actually show them, kind of, approach.
835
00:49:10,075 --> 00:49:11,284
To kinda take this in.
836
00:49:11,368 --> 00:49:13,286
[Ibrahim] I know I'm gonna learn
a lot from him.
837
00:49:13,370 --> 00:49:15,497
And it really--
it kind of reflects Lion King,
838
00:49:15,580 --> 00:49:17,749
i.e. the circle of life.
839
00:49:18,249 --> 00:49:19,668
That's it. Everybody get that?
840
00:49:19,751 --> 00:49:21,169
- Yep.
- Yes, thanks.
841
00:49:32,013 --> 00:49:35,100
[Ibrahim] When we started working
on Iwájú, I'd never been to Lagos.
842
00:49:36,685 --> 00:49:37,852
[vendors chattering]
843
00:49:41,856 --> 00:49:46,194
The best way I can describe it is, Lagos
has a certain audacity as a place.
844
00:49:46,277 --> 00:49:49,155
An example I'll give is you see
a really tall, beautiful building.
845
00:49:49,239 --> 00:49:51,032
Right next to it is, like, a goat farm.
846
00:49:51,658 --> 00:49:52,951
And the energy's always high.
847
00:49:54,202 --> 00:49:58,915
{\an8}But Lagos is so different in the way
there is that pushing yourself forward.
848
00:49:58,998 --> 00:50:01,751
There's a way it just wills itself to be
what it wants to be.
849
00:50:08,967 --> 00:50:11,845
It was really nice working with artists
who lived in Lagos,
850
00:50:11,928 --> 00:50:14,305
because it helped me have a starting point
851
00:50:14,389 --> 00:50:16,725
which is from people
who knew what Lagos was
852
00:50:16,808 --> 00:50:18,727
versus what people think Lagos is.
853
00:50:18,810 --> 00:50:23,023
We have a whole bunch of Africans
working on the project.
854
00:50:23,106 --> 00:50:26,776
Bill Masuku in Zimbabwe and Jason Lamy.
855
00:50:26,860 --> 00:50:29,279
Joy Alunga from Kenya.
856
00:50:29,362 --> 00:50:32,490
But then we have people
like Godwin, Bimpe.
857
00:50:32,574 --> 00:50:37,620
We have Victor, John Zino, Segun.
Those are all Lagosians.
858
00:50:38,580 --> 00:50:40,707
You know, I've been living in Lagos
all my life
859
00:50:40,790 --> 00:50:43,418
so definitely there is always traffic
860
00:50:43,501 --> 00:50:47,922
and people hawking bottled water
or maybe snacks.
861
00:50:48,006 --> 00:50:50,592
As I give them direction on what to draw,
they give me something.
862
00:50:50,675 --> 00:50:52,469
They give me the reason.
We have that back and forth.
863
00:50:52,552 --> 00:50:54,721
[Chen] I think Hamid being from Uganda,
864
00:50:54,804 --> 00:50:55,764
I think it allows him
865
00:50:55,847 --> 00:50:59,142
to actually approach being
a production designer for this series
866
00:50:59,225 --> 00:51:00,977
with the idea of what's really gettable
867
00:51:01,061 --> 00:51:02,979
and digestible for an audience standpoint
868
00:51:03,063 --> 00:51:05,231
and while also being
very culturally relevant.
869
00:51:05,315 --> 00:51:08,735
You know, I think I really like it,
because one, as you know,
870
00:51:08,818 --> 00:51:11,613
like, we're trying to make this to be
like a love letter to Lagos, right?
871
00:51:13,406 --> 00:51:17,452
I like to think of it as I'm kind of,
like, leading an orchestra
872
00:51:17,535 --> 00:51:18,828
of amazing artists.
873
00:51:33,426 --> 00:51:39,057
{\an8}Lagos is a melting pot. Everyone from
all over Nigeria is in Lagos.
874
00:51:39,140 --> 00:51:42,769
[Ibrahim] One of the ways a lot of people
identify themselves as African
875
00:51:42,852 --> 00:51:45,271
is from what they wear,
which would be like traditional wear.
876
00:51:45,355 --> 00:51:47,023
A lot of them would wear the Ankara design
877
00:51:47,107 --> 00:51:48,983
which is patterns with
a lot of color in them.
878
00:51:49,067 --> 00:51:52,862
[Adebambo] The show
had to depict our culture,
879
00:51:52,946 --> 00:51:55,782
our way of life or, like,
our way of clothing.
880
00:51:55,865 --> 00:51:58,034
[Ibrahim] If you look at
all the costumes of the characters,
881
00:51:58,118 --> 00:52:00,328
wanted to make them
not just visually interesting.
882
00:52:00,412 --> 00:52:04,290
For them to make sense for people who
are from Lagos as well was very important.
883
00:52:04,374 --> 00:52:07,502
I wanted it to have that identity
embedded inside it.
884
00:52:07,585 --> 00:52:09,587
So I added that expertise from Bimpe
885
00:52:09,671 --> 00:52:12,298
because she has a deep knowledge
in the fashion world.
886
00:52:12,382 --> 00:52:15,385
[speaking Yoruban]
887
00:52:16,052 --> 00:52:22,851
And we wanted to portray people
from different tribes of the country.
888
00:52:22,934 --> 00:52:25,687
[speaking Yoruban]
889
00:52:26,604 --> 00:52:31,735
Because we're talking about
different kinds of textiles.
890
00:52:31,818 --> 00:52:38,783
Some are woven, some are spun,
so they come with different textures.
891
00:52:42,370 --> 00:52:44,205
Tola. We're here.
892
00:52:46,166 --> 00:52:49,294
When I read the scripts
and there was this part
893
00:52:49,377 --> 00:52:53,882
that Tola had to go to Ajegunle,
894
00:52:53,965 --> 00:52:57,635
I thought it wasn't a scene for a dress.
895
00:52:58,136 --> 00:53:00,555
And she also still has to be cute,
896
00:53:00,638 --> 00:53:04,893
you know, so I thought
what would be nice would be a jumpsuit.
897
00:53:06,519 --> 00:53:12,859
The indigo fabric that I suggested
for her outfit is special to Nigeria.
898
00:53:12,942 --> 00:53:16,571
The particular designs that I chose,
899
00:53:16,654 --> 00:53:20,533
a cowrie shell is significant
in so many ways.
900
00:53:20,617 --> 00:53:21,576
It's from the sea.
901
00:53:21,659 --> 00:53:26,331
Lagos is called the place
of aquatic splendor, center of excellence,
902
00:53:26,414 --> 00:53:31,961
but the cowrie was also
a former legal tender in Nigeria.
903
00:53:32,045 --> 00:53:36,549
And, hey, she's the daughter
of a billionaire.
904
00:53:39,135 --> 00:53:41,638
Oya, who wan chop?
905
00:53:41,721 --> 00:53:44,224
[cheering]
906
00:53:44,307 --> 00:53:48,603
Hamid wanted Bode in agbada.
907
00:53:48,687 --> 00:53:53,149
Agbada is basically a
three-piece suit. Quite stately, it's big.
908
00:53:53,233 --> 00:53:59,072
You wouldn't, on a normal day,
just be wearing that on the street.
909
00:53:59,155 --> 00:54:02,075
{\an8}You would be wearing it
maybe for a function.
910
00:54:02,158 --> 00:54:06,538
Everything about him had to be big.
Jumbo coral beads. Who wears that,
911
00:54:06,621 --> 00:54:11,376
you know, like, on a normal day. You have
to be a chief or a king or something.
912
00:54:11,459 --> 00:54:13,086
So many rings.
913
00:54:13,169 --> 00:54:15,088
I mean, his watch can buy you--
914
00:54:15,171 --> 00:54:18,258
maybe he even orders
from Rolex ahead of time.
915
00:54:18,341 --> 00:54:21,594
You know, just to show that,
"Well, we run the show here."
916
00:54:25,724 --> 00:54:28,852
[Ibrahim] Ziki, as he was writing
the story about class and division,
917
00:54:28,935 --> 00:54:31,312
in Lagos itself we have the mainland
and the island,
918
00:54:31,396 --> 00:54:34,232
and there's an actual water body
separating the two bodies, right.
919
00:54:34,315 --> 00:54:38,319
And one side of Lagos is full
of the most wealthy people
920
00:54:38,403 --> 00:54:41,406
where the other side is not as wealthy
as the other one.
921
00:54:41,489 --> 00:54:43,992
There's something a little bit dystopian
about the fact
922
00:54:44,075 --> 00:54:48,872
that you have a body of water separating
the wealthy from those who are not.
923
00:54:48,955 --> 00:54:52,250
{\an8}That was something you could really sink
your teeth in as visual storytelling
924
00:54:52,334 --> 00:54:56,171
{\an8}that we could build this world
on one side of the water
925
00:54:56,254 --> 00:55:01,426
versus this other world
and have this very clear difference
926
00:55:01,509 --> 00:55:03,136
between haves and have-nots.
927
00:55:04,262 --> 00:55:06,056
[Ibrahim] I was trying to show
the wealthy side of Africa.
928
00:55:06,139 --> 00:55:08,892
And I was trying to think of where
to show that that's, one, unique
929
00:55:08,975 --> 00:55:11,102
and, two, would speak
to the culture of Lagos.
930
00:55:11,728 --> 00:55:15,440
For example, if you come
to the main town part of the island,
931
00:55:15,523 --> 00:55:16,983
which is a more affluent area,
932
00:55:17,067 --> 00:55:20,236
they have the sculpture buildings
which are buildings made out of sculptures
933
00:55:20,320 --> 00:55:23,198
{\an8}where the rich people of Lagos
would live inside,
934
00:55:23,281 --> 00:55:26,368
{\an8}and it's almost like they're living
in an art piece that represents Lagos.
935
00:55:26,451 --> 00:55:29,746
{\an8}Whereas when you come to the mainland,
we go all the way to the extreme
936
00:55:29,829 --> 00:55:33,541
where we have houses made out of what
would be containers,
937
00:55:33,625 --> 00:55:35,835
maybe travel containers. And they
were kind of modified to be houses.
938
00:55:35,919 --> 00:55:41,633
So if you look at the design here,
there is just so much density.
939
00:55:41,716 --> 00:55:44,928
I tried as much as possible
to integrate everything
940
00:55:45,011 --> 00:55:48,098
that would make life accessible
to these people.
941
00:55:48,181 --> 00:55:52,769
So we have Lagos today and then Iwájú
is just an amplification of that.
942
00:55:52,852 --> 00:55:54,270
In a futuristic sense.
943
00:55:55,772 --> 00:55:57,232
Happy birthday.
944
00:55:57,982 --> 00:56:00,360
Mmm? This is Otin.
945
00:56:01,695 --> 00:56:03,238
[Adeola] At some point,
946
00:56:03,321 --> 00:56:08,868
I realized that we needed
an animal character in the show.
947
00:56:08,952 --> 00:56:11,663
And I didn't wanna do just any animal.
948
00:56:11,746 --> 00:56:14,457
I just had this eureka moment
of an agama lizard.
949
00:56:14,541 --> 00:56:17,752
Something that every Nigerian watching
would be like, "Wow."
950
00:56:18,878 --> 00:56:21,089
That's the lizard in my backyard.
951
00:56:22,215 --> 00:56:26,219
They're very common in West Africa.
952
00:56:26,302 --> 00:56:27,262
Ugh!
953
00:56:27,846 --> 00:56:31,683
The whole idea
is Tola dislikes agama lizards,
954
00:56:31,766 --> 00:56:36,980
and Tunde has this idea or sense
that children love lizards.
955
00:56:37,063 --> 00:56:39,024
[Tunde] You once asked for a pet,
956
00:56:39,107 --> 00:56:42,527
and research shows
that children love lizards.
957
00:56:43,611 --> 00:56:47,282
So I thought what better way to show
how little he knows
958
00:56:47,365 --> 00:56:50,326
about the tastes of children
or even about lizards.
959
00:56:50,952 --> 00:56:54,039
It's great. E se baba.
960
00:56:54,122 --> 00:56:58,543
In Nigeria, children would not
have agama lizards as pets.
961
00:57:03,631 --> 00:57:06,176
{\an8}Yo, we know that sound.
Puff puff! Puff puff!
962
00:57:10,055 --> 00:57:15,518
In the story there are a few
key moments with respect to food.
963
00:57:15,602 --> 00:57:18,188
We have puff puff, for example.
964
00:57:18,271 --> 00:57:21,107
- Let us, like, ten pieces.
- Ten pieces, yeah?
965
00:57:21,191 --> 00:57:23,651
Think of it as a Nigerian doughnut.
966
00:57:23,735 --> 00:57:29,032
The main difference is the mix of spices
that are used to give it its flavor.
967
00:57:29,115 --> 00:57:30,325
Thank you.
968
00:57:30,408 --> 00:57:31,451
Ooh!
969
00:57:32,869 --> 00:57:33,912
Mmm!
970
00:57:35,330 --> 00:57:41,211
Tola's a lot more fascinated
by the local authentic food.
971
00:57:42,212 --> 00:57:43,421
Mmm!
972
00:57:43,505 --> 00:57:48,009
It is actually incredibly delicious,
you know, it's full of flavor.
973
00:57:48,093 --> 00:57:49,678
It's visually striking.
974
00:57:49,761 --> 00:57:54,015
If Tola was so interested
in eating mainland food,
975
00:57:54,099 --> 00:57:56,559
{\an8}Kole would definitely want
to take Tola to a mama puts.
976
00:58:03,066 --> 00:58:06,528
[speaking Yoruban]
977
00:58:06,611 --> 00:58:07,862
Yes.
978
00:58:08,697 --> 00:58:10,824
They call these places "mama puts"
979
00:58:10,907 --> 00:58:13,785
because usually the person serving
would be a lady.
980
00:58:13,868 --> 00:58:18,498
It's usually run by women
and they're like, "Mama puts three eba."
981
00:58:18,581 --> 00:58:21,918
"Puts one fish", "puts one ponmo".
[chuckles]
982
00:58:22,002 --> 00:58:25,463
Yeah, so Ziki, have you ever actually
eaten at a mama puts before?
983
00:58:25,547 --> 00:58:29,843
Yeah. Last time was maybe when I was,
like, ten or 11 years old.
984
00:58:29,926 --> 00:58:32,554
What! That is forever ago.
985
00:58:32,637 --> 00:58:34,014
I really like the energy of the place
986
00:58:34,097 --> 00:58:37,600
in terms of just, like,
I like the feeling of it.
987
00:58:37,684 --> 00:58:41,688
This type of food is affordable
to the mass populous you find here.
988
00:58:41,771 --> 00:58:47,402
And that's why I felt like in the story
we needed to have the mainland characters
989
00:58:47,485 --> 00:58:50,530
eat at mama puts
because it's natural to them.
990
00:58:50,613 --> 00:58:53,366
And they're not going to go to,
like, a fancy restaurant
991
00:58:53,450 --> 00:58:56,953
and order non-Nigerian food.
992
00:58:58,246 --> 00:59:00,206
I'm eating with my hands.
993
00:59:00,290 --> 00:59:02,751
My hands, Kole.
994
00:59:02,834 --> 00:59:06,379
Primarily we have
the characters eating swallow
995
00:59:06,463 --> 00:59:10,592
which is, the closest western analogy
I can think of is, mashed potato
996
00:59:10,675 --> 00:59:11,885
but it's a little bit different.
997
00:59:11,968 --> 00:59:17,766
Swallow is some sort of tuber
that is mashed up and cooked,
998
00:59:18,433 --> 00:59:21,269
eaten alongside what we would call soup,
999
00:59:21,353 --> 00:59:24,481
but it's not like the typical soup
you eat with a spoon.
1000
00:59:24,564 --> 00:59:27,150
It has a little bit more texture to it
1001
00:59:27,233 --> 00:59:32,489
and you mix the soup with some
fried meat, vegetables, spices,
1002
00:59:32,572 --> 00:59:33,782
and then you eat that all together
1003
00:59:33,865 --> 00:59:38,286
and that is one of the most authentically
Nigerian dining experiences.
1004
00:59:38,370 --> 00:59:40,622
I just tasted the soup and I was like,
"Okay, I'm not--
1005
00:59:40,705 --> 00:59:42,499
That's not my level of pepper."
1006
00:59:43,208 --> 00:59:47,879
{\an8}West African food in general
is very different from East African food.
1007
00:59:47,962 --> 00:59:50,674
{\an8}But the biggest difference would be
the amount of spices.
1008
00:59:50,757 --> 00:59:53,343
When I was a kid, they…
1009
00:59:53,426 --> 00:59:55,970
When they were cooking, I could…
1010
00:59:56,054 --> 00:59:58,515
I would already be sweating.
Like, I'm not even eating it.
1011
00:59:58,598 --> 01:00:03,520
And then the-- the aromas emanating
from the kitchen were pretty difficult.
1012
01:00:03,603 --> 01:00:06,648
I would say they don't really care
about the taste of their food.
1013
01:00:06,731 --> 01:00:08,900
They just wanna burn your tongue.
That's my perspective.
1014
01:00:08,983 --> 01:00:10,694
Humble opinion. Right?
1015
01:00:10,777 --> 01:00:13,905
So someone who's not used to that is,
you know…
1016
01:00:13,988 --> 01:00:16,199
I would recommend they stay safe.
1017
01:00:16,282 --> 01:00:18,993
[both laughing]
1018
01:00:19,077 --> 01:00:21,496
Bring on the pepper!
1019
01:00:21,579 --> 01:00:24,374
This party has to be perfect.
1020
01:00:24,457 --> 01:00:27,585
{\an8}- [chirping]
- [camera shutter clicks]
1021
01:00:27,669 --> 01:00:29,796
This music is gonna be
a big part of the show
1022
01:00:29,879 --> 01:00:31,798
because it's very big part of the culture.
1023
01:00:35,969 --> 01:00:37,721
{\an8}[music playing]
1024
01:00:37,804 --> 01:00:41,516
Ré Olunuga is a musical composer.
1025
01:00:44,477 --> 01:00:47,397
[Olunuga] More than anything,
I consider myself a storyteller.
1026
01:00:47,480 --> 01:00:52,610
{\an8}The medium I use most often is music,
but the compulsion is to tell stories.
1027
01:00:54,863 --> 01:00:58,158
The passion for the work
really just shows. It's very infectious.
1028
01:00:58,241 --> 01:01:01,619
Yeah. I think overall it's-- it's solid.
I mean, it's completely different sound.
1029
01:01:01,703 --> 01:01:03,246
[Olunuga] Working with Ziki
has been great.
1030
01:01:03,329 --> 01:01:06,583
Just what he reaches for
in his storytelling,
1031
01:01:06,666 --> 01:01:09,544
um, similar things to what I reach for.
1032
01:01:09,627 --> 01:01:13,715
More than anything we share an excitement
to tell this type of story.
1033
01:01:13,798 --> 01:01:15,216
[Adeola] He's from Nigeria,
1034
01:01:15,300 --> 01:01:21,097
so he has a very clear
and direct understanding of the culture.
1035
01:01:30,023 --> 01:01:33,860
So most of the music is orchestral.
1036
01:01:34,778 --> 01:01:38,990
But Lagos is a unique city.
It's a city like no other city.
1037
01:01:39,074 --> 01:01:42,660
So it's probably not gonna evolve
in the ways that people expect.
1038
01:01:42,744 --> 01:01:45,038
[playing music]
1039
01:01:45,121 --> 01:01:51,920
We have harp duets,
and we have this fusion of
1040
01:01:52,003 --> 01:01:54,839
African instruments
and African performers.
1041
01:01:54,923 --> 01:02:00,428
From Afrobeats to highlife
that feels recognizable and familiar,
1042
01:02:00,512 --> 01:02:06,017
but also feels representative of
an imagined future.
1043
01:02:06,101 --> 01:02:11,064
Um, I'm super excited for today because
we're doing some special cues today.
1044
01:02:11,606 --> 01:02:14,234
- Um, I hope that you all have fun.
- [chattering]
1045
01:02:14,317 --> 01:02:15,568
It's gonna be awesome.
1046
01:02:15,652 --> 01:02:18,113
So, thank you again.
I'm looking forward to it.
1047
01:02:18,196 --> 01:02:19,239
Thank you.
1048
01:02:23,868 --> 01:02:26,705
The first time we were
on that scoring stage
1049
01:02:27,288 --> 01:02:31,710
and the conductor gives them the cue…
1050
01:02:31,793 --> 01:02:32,836
[orchestra playing]
1051
01:02:32,919 --> 01:02:34,170
…and they start…
1052
01:02:37,549 --> 01:02:40,844
is one of the most special moments
a person, a human can experience
1053
01:02:40,927 --> 01:02:43,930
because it's your dreams coming to life.
1054
01:02:46,182 --> 01:02:47,892
[music continues]
1055
01:02:52,355 --> 01:02:57,402
The process of recording an orchestra,
especially for a Disney project,
1056
01:02:57,485 --> 01:02:59,696
is unlike any other thing
1057
01:02:59,779 --> 01:03:03,074
because you're working with
some of the best musicians in the world.
1058
01:03:04,200 --> 01:03:07,245
Crescendo for two bars,
to mezzo-piano beginning of 18.
1059
01:03:07,328 --> 01:03:11,583
And then you crescendo for one bar
at the-- all of 19. And that's a forte.
1060
01:03:11,666 --> 01:03:14,294
[orchestra playing]
1061
01:03:20,759 --> 01:03:23,261
[Kole] She dey tear out the pages
and throw them like ninja stars.
1062
01:03:23,345 --> 01:03:25,472
Like… [imitates whooshing sound]
1063
01:03:25,555 --> 01:03:26,765
Eh, eh, eh! Stop this.
1064
01:03:26,848 --> 01:03:28,350
[Kole] Sorry, sa.
1065
01:03:34,189 --> 01:03:35,899
[sighs] Okay.
1066
01:03:45,283 --> 01:03:47,285
…not enough.
1067
01:03:57,712 --> 01:04:00,215
I should hold on to everything they say.
1068
01:04:02,842 --> 01:04:06,721
We're an army
to just help tell the story of Iwájú
1069
01:04:06,805 --> 01:04:08,807
[chattering]
1070
01:04:09,641 --> 01:04:11,142
[Adeola] You know,
this has been our heartbeat
1071
01:04:11,226 --> 01:04:14,646
for the best part of about three years.
1072
01:04:14,729 --> 01:04:19,401
And so to think that, you know, all of it
is coming to an end soon, it's crazy.
1073
01:04:20,694 --> 01:04:22,320
[Olowofoyeku] It's
one of those things where
1074
01:04:23,071 --> 01:04:27,575
the impact and effect,
I'm starting to see how big it will be.
1075
01:04:28,493 --> 01:04:30,328
[Ibrahim] There is that
weight of responsibility.
1076
01:04:30,412 --> 01:04:33,331
It has to live up to the legacy
of what it is.
1077
01:04:33,415 --> 01:04:36,918
Because it's such a huge--
it's a very strong, big move
1078
01:04:37,002 --> 01:04:38,378
in African visual storytelling.
1079
01:04:47,053 --> 01:04:54,060
{\an8}The D23 Expo is this incredible gathering
of, you know, the greatest Disney fans.
1080
01:04:54,144 --> 01:04:56,021
[chattering]
1081
01:04:56,521 --> 01:04:57,522
Hi!
1082
01:04:58,273 --> 01:05:00,608
[Lee] And for us, it means a lot.
1083
01:05:00,692 --> 01:05:04,863
We actually keep a lot of things secret
just to launch here.
1084
01:05:04,946 --> 01:05:07,073
It's an opportunity for us
1085
01:05:07,157 --> 01:05:09,451
as filmmakers to share
what are we working on,
1086
01:05:09,534 --> 01:05:13,580
{\an8}to give a little glimpse into
behind the scenes of what's happening
1087
01:05:13,663 --> 01:05:15,165
{\an8}at Walt Disney Animation Studios.
1088
01:05:15,248 --> 01:05:18,543
And the story of Iwájú
starts to become part of the world.
1089
01:05:22,005 --> 01:05:28,678
[Adeola] It feels very cathartic
because I'm here with Tolu and Hamid,
1090
01:05:28,762 --> 01:05:32,182
and I remember when we were
just starting Kugali,
1091
01:05:32,265 --> 01:05:36,519
it was just really the three of us
who had a dream that we believed in
1092
01:05:36,603 --> 01:05:38,938
and worked very hard.
1093
01:05:39,022 --> 01:05:43,276
[Olowofoyeku] We have not been
able to talk about our projects much.
1094
01:05:43,360 --> 01:05:46,112
We've been working on it
for almost four years.
1095
01:05:46,613 --> 01:05:49,157
{\an8}It's the first chance
that we'll actually get
1096
01:05:49,240 --> 01:05:51,951
{\an8}to share what we've been working on
for so long with the world.
1097
01:05:52,035 --> 01:05:54,496
When you're working on something,
you think you know what it is
1098
01:05:54,579 --> 01:05:56,206
but you don't know
how the world is gonna receive it,
1099
01:05:56,289 --> 01:05:58,166
so I'm looking forward
to the world seeing this.
1100
01:05:59,042 --> 01:06:01,503
[Adeola] It's gonna be great
to actually finally share it
1101
01:06:01,586 --> 01:06:05,423
and let everyone see the beauty
and amazement of Iwájú.
1102
01:06:10,387 --> 01:06:12,764
[Olowofoyeku] For a guy,
you look pretty. [laughs]
1103
01:06:12,847 --> 01:06:15,058
- I know.
- Oh, boy.
1104
01:06:27,987 --> 01:06:30,407
[Adeola] I'm really just
trying to stay present.
1105
01:06:30,490 --> 01:06:35,412
You know, there is obviously a little part
of me that is a little bit nervous
1106
01:06:35,495 --> 01:06:38,665
because this is the largest
crowd of people
1107
01:06:38,748 --> 01:06:41,793
I will have ever addressed in my life.
1108
01:06:41,876 --> 01:06:44,129
[Ibrahim] It's been absolutely crazy
and I cannot wait to get on stage.
1109
01:06:44,212 --> 01:06:46,423
{\an8}It's like 7,000 people,
first time doing this.
1110
01:06:47,966 --> 01:06:51,136
[Lee] Please welcome to the stage
the Kugali founders.
1111
01:06:51,219 --> 01:06:52,804
[audience cheering]
1112
01:06:53,471 --> 01:06:54,347
[Ibrahim] Disney!
1113
01:06:54,431 --> 01:06:56,641
- [Adeola] Hey, D23!
- [Lee laughs]
1114
01:06:57,350 --> 01:06:58,810
How you guys doing?
1115
01:06:59,394 --> 01:07:02,647
- [Olowofoyeku] Hello, D23.
- Are you ready for Africa?
1116
01:07:02,731 --> 01:07:05,608
- [audience cheers]
- Yeah!
1117
01:07:13,199 --> 01:07:16,995
[Spencer] To be here, and to have Ziki
and Hamid and Tolu all here,
1118
01:07:17,078 --> 01:07:19,497
in front of 7,000 people,
1119
01:07:19,581 --> 01:07:23,835
talking about a project that
just a couple years ago did not exist,
1120
01:07:24,544 --> 01:07:28,298
because of a phone call,
is an incredible moment in time.
1121
01:07:28,381 --> 01:07:31,760
We are really excited
to be working alongside Disney Animation
1122
01:07:31,843 --> 01:07:34,554
to bring you a special story.
1123
01:07:34,637 --> 01:07:36,973
A story from Africa.
1124
01:07:37,057 --> 01:07:40,310
And to see them…
1125
01:07:41,561 --> 01:07:45,565
[sighs] Sorry. Um, you know.
1126
01:07:46,691 --> 01:07:48,693
To see them up there was really special.
1127
01:07:49,277 --> 01:07:51,613
[Lee] My hopes for Iwájú
is it's just a beginning.
1128
01:07:51,696 --> 01:07:53,823
Getting stories from around the world
1129
01:07:53,907 --> 01:07:57,952
and being exposed
to different kinds of storytelling.
1130
01:07:58,036 --> 01:07:59,621
We're gonna always evolve as storytellers.
1131
01:07:59,704 --> 01:08:01,456
We are going to keep pushing ourselves.
1132
01:08:01,539 --> 01:08:06,461
[Hudson] I hope that people just see
true and authentic relationship
1133
01:08:06,544 --> 01:08:11,341
between this girl and her father,
this girl and her friend,
1134
01:08:11,966 --> 01:08:16,054
{\an8}through this very, very,
very, very, very Nigerian lens.
1135
01:08:16,137 --> 01:08:19,724
{\an8}You know what I mean? And it's just
like, that they get all of the culture.
1136
01:08:19,808 --> 01:08:22,477
Just the richness of that,
but that they relate to it.
1137
01:08:22,560 --> 01:08:27,899
[West] I think when people see Tola
in her mansion in Lagos
1138
01:08:27,982 --> 01:08:31,444
that gets up and jumps on her hoverboard
and makes puff puffs,
1139
01:08:31,528 --> 01:08:36,199
{\an8}I think people will go, like, "I had
no idea how much I needed to see that."
1140
01:08:36,282 --> 01:08:39,619
[Chen] Whether it's some kid in Lagos
who sees themselves in the character,
1141
01:08:39,703 --> 01:08:42,122
or someone who's never been to Lagos
1142
01:08:42,205 --> 01:08:43,873
or maybe have never even heard of Lagos,
1143
01:08:43,957 --> 01:08:46,334
and they see a bit of themselves
in the characters,
1144
01:08:46,418 --> 01:08:48,670
because I think
that if something resonates,
1145
01:08:48,753 --> 01:08:51,214
it means it's universal enough
to illicit a feeling.
1146
01:08:51,297 --> 01:08:54,384
And I think that's all
we're really ever trying to do
1147
01:08:54,467 --> 01:08:56,636
whenever we tell these stories at Disney.
1148
01:08:56,720 --> 01:08:58,847
{\an8}I've seen a story come to life,
1149
01:08:58,930 --> 01:09:04,853
{\an8}I've seen a beautiful story
just emerge out of artistic ambition
1150
01:09:04,936 --> 01:09:08,606
and… but I'm really, really
excited for the audience.
1151
01:09:08,690 --> 01:09:11,860
I'm hoping that
they find it as special as we do.
1152
01:09:11,943 --> 01:09:15,780
{\an8}What this is doing,
it's saying there are possibilities.
1153
01:09:15,864 --> 01:09:18,366
You can tell all kinds of stories
1154
01:09:18,450 --> 01:09:20,869
and the world will see it
and celebrate it.
1155
01:09:20,952 --> 01:09:24,289
They say people from Africa, you have
a lot of spice and pepper to their food.
1156
01:09:24,372 --> 01:09:27,083
I think we're the spice and pepper
to Disney that they needed.
1157
01:09:27,167 --> 01:09:30,420
I hope Iwájú launches
the next generation of artists.
1158
01:09:30,503 --> 01:09:34,174
I hope it's a point of inspiration
for artists all over the continent.
1159
01:09:34,257 --> 01:09:35,925
All over the world as well.
1160
01:09:36,009 --> 01:09:40,096
Just to dare to tell stories differently.
To dare to do things in a different way.
1161
01:09:40,180 --> 01:09:46,144
I feel like life is going to change
permanently for myself, Hamid and Tolu.
1162
01:09:46,227 --> 01:09:50,732
And it's somewhat surreal
and, honestly, a little bit daunting.
1163
01:09:50,815 --> 01:09:55,195
There is nothing in the 100-year
portfolio of Disney Animation
1164
01:09:55,278 --> 01:09:57,030
that feels like our show.
1165
01:09:57,113 --> 01:09:58,656
It feels very different.
1166
01:09:58,740 --> 01:10:01,993
[Olowofoyeku] You don't think,
"I'm going to make a video game
1167
01:10:02,077 --> 01:10:05,121
or a movie with Disney."
1168
01:10:05,789 --> 01:10:11,086
Most people from Africa and Nigeria
in particular do not dream that way
1169
01:10:11,169 --> 01:10:13,254
because it just
doesn't seem realistic to them.
1170
01:10:13,338 --> 01:10:16,466
I've never been realistic
and I think it's worked out very well,
1171
01:10:16,549 --> 01:10:20,387
but I hope that now I can
help other people to realize
1172
01:10:20,470 --> 01:10:22,097
their dreams don't turn to dust.