WHY have you chosen to serve us this Christmas with ‘The Waiter’?
I’ve kept people waiting for something worthwhile, and now it’s time to say, ‘Food is ready’. ‘The Waiter’ reflects on societal occurrences, capturing the present Nigerian situation.
There’s no better way to tell our story than through movies. Having been a waiter in real life, this story is personal. It’s about giving hope, and showing that with dedication, sacrifices, and the right motivation, you can achieve greatness.
Before ‘The Waiter’, you were celebrated for making N150 million in cinemas. How do you feel now that people are making N1 billion or N350 million with ease?
When I hit N150 million, it was equivalent to over $1 million in Nigeria at the time.
Adjusted for inflation and currency exchange rates, it was a significant milestone. It took someone in Atlanta to point out my worth, reminding me that I achieved what others are doing today, but 10 years ago.
Your web series ‘The Waiter’ was shot in a pub or hotel. Can we expect characters from that series in the new movie?
No, this movie is different. I love drawing from my growth process before I entered the industry. For instance, ‘Call to Bar’ reflects my time working as a bartender at the NNPC junior staff club. My stories have sentimental attachments because they’re grounded in real-life experiences.
“The Waiter” has a bit of the ‘Call to Bar’ flavour but is more extended and pronounced, portraying the realities of the average Nigerian in today’s economic climate.
In ‘Merry Men’, you introduced action scenes into Nollywood films and brought in someone to train the actors. Why did you take that leap when it wasn’t popular at the time?
Nigeria is blessed with creative talents. When you identify someone with potential, it’s your responsibility to bring them into the spotlight if you have the platform. Suleiman, for example, was just a regular guy on Instagram when I discovered him. Today, he’s a leading name in action choreography.
I’ve always been passionate about creating opportunities, whether in film or through initiatives like the AY’s ‘Open Mic’ comedy Challenge.
Should we expect more than one franchise for ‘The Waiter’?
In the creative space, we believe that the piper dictates the tune. And in this case, the piper is the viewers the people who spend their money. There’s a way they would like it, and there’s a way they would take over the social media space, asking for more like Oliver Twist. Of course, why not? When the music is good, you play it twice.
AY, when you were making N150 million with your movies back then, what you needed to do in the cinema was to make a good movie, do a few marketing strategies, and get some of the cast to do meet-and-greets. What has changed?
Yes, that’s true. But these days, you have to do more. You have to dance, you have to do a lot of skits and engage differently on social media.
Now, you’ve decided to release your movie at a time that feels like going into the lion’s den. Does that make you nervous, releasing your movie when there’s so much competition?
It doesn’t make me nervous one bit. First of all, we must understand something that a lot of people don’t know about me. Many people out there don’t even have a basic understanding of my background. I’m a trained theatre artiste. Yes, and as a theatre practitioner, there’s one belief system we uphold: no matter what, the show must go on. No matter what happens you may get a call about losing someone or facing any challenge the show must go on. So, for me, embracing that showpiece stamina and resilience is part of my DNA.
In terms of beating your own record, I remember that in 2022, even before Almajiri was released, it got recognition and won more than a dozen awards. You also won awards at the Toronto International Festival, among others, totaling about 12 awards from that festival. Now, with ‘The Waiter’ coming out, what’s your projection in terms of awards?
"The Waiter" is poised for significant success. A theatrical viewing is essential for full comprehension; the trailer alone has already generated considerable social media interest. Its direction and the high production values are clearly evident in the preview. As executive producer and a seasoned industry veteran with a proven track record of box office success, I am confident this project will be no exception.
There’s no way we can talk about this without addressing the current controversy surrounding Netflix and the fact that during the Zuma Film Festival, Kunle Afolayan said Netflix was no longer doing originals in Nigeria. While you haven’t done a Netflix original, you’ve had about five or six films licensed on their platform. Were you looking forward to doing an original with Netflix before this news, and how do you view the situation?
First, Netflix has debunked a significant part of that story. But you and I know that with such stories, there’s often a grain of truth somewhere.
Netflix’s position may come from people who have had direct dealings with them. I recently had a meeting with Netflix, and it was never mentioned that they were pulling out of Nigeria.
In fact, our last discussion was about my next project and how they could be involved. So, I don’t strongly believe they’re leaving Nigeria entirely. It’s unlikely they’d leave abruptly as some claim.
The reality is, if a business isn’t making money in a specific region and is spending more than it earns, it will go back to the drawing board to re-strategise. That’s likely what’s happening.
This issue isn’t just about filmmakers; it concerns all of us as Nigerians. For example, Netflix’s subscription base in Nigeria is less than 300,000 in a country with over 200 million people. There’s clearly a gap that needs to be addressed.
Previously, a single Netflix password could be shared among friends, family, and others, creating issues for their revenue. Resolving these challenges will benefit both the filmmakers and the audience in the long run.
I’d also like to ask about the dynamics within the Makun brothers. You all seem very close and tight-knit, running events like Larry Makun productions. How do you manage working together so cohesively Including Yomi Casual, you all have a strong bond. How important is family in your business ventures?
Family is essential. In fact, there’s no AY Live without Larry Makun events. But family in business goes beyond just being related; it’s about being result-oriented. Not every family member should be incorporated into the business. Some family members, others will even warn you about, saying, “You’re on your own!”
The upbringing we had shaped us. Coming from a family that values unity and hard work, it’s easier to work together and win together.
That’s why Yomi Casual is thriving in fashion, Larry in events, and me in entertainment. It’s all about the foundation laid by our parents.
With four big movies premiered this December, why should audiences choose ‘The Waiter’?
The answer is already online. Feedback is everything. It’s a reflection of what you’ve offered and what people expect.
Without downplaying other titles that will do well, I believe the feedback I’ve seen shows why ‘The Waiter’ is a must-watch. It’s not just about marketing myself but about the quality and effort put into this project.
Should viewers expect a sequel?
‘The Waiter’ resonates with every Nigerian facing today’s economic realities. It’s relatable and emotionally grounded. As for a sequel, let’s see how the audience connects with the story before we decide on expanding the franchise.
You’ve also helped comedians through your ‘Open Mic’ challenge. Is this part of your philosophy?
Absolutely. Discovering talent and giving them opportunities is my way of contributing to the industry. Many comedians in the industry today started with AY’s ‘Open Mic’ challenge.