‘Kannywood is vibrantly developing’

Weekend Magazine: Tell us briefly about your person. Bello Galadanchi: My name is Bello Habeeb Galadanchi. I was born on December 12, 1987 in State College, Pennsylvania. I graduated from The Pennsylvania State University in 2011 with a degree in Biomedical Engineering, and I have also studied Sociology, Humanitarian Engineering & Social Entrepreneurship, Film & […]

Weekend Magazine: Tell us briefly about your person.
Bello Galadanchi: My name is Bello Habeeb Galadanchi. I was born on December 12, 1987 in State College, Pennsylvania. I graduated from The Pennsylvania State University in 2011 with a degree in Biomedical Engineering, and I have also studied Sociology, Humanitarian Engineering & Social Entrepreneurship, Film & Video and Acting, and a host of other certificates. I am currently not married.
How was growing up in Nigeria?
I attended primary school in Jos, a mining city in Plateau State where I opened my eyes to a multi-ethnic community, comprising of Ndigbo, Yoruba, Berom, Angas, Fulani, Syrians and Lebanese. What I can remember, is we lived peacefully and in harmony with one another, and we learnt so much from, and about each other. It created a diversified personality.
You are a trained engineer, what attracted you to filmmaking?
Art. Filmmaking is an art, just like painting, writing and theatre. But it requires a little more commitment, focus and organization to convey in its most edible form. Technical skills and numerical skills are imperative; therefore the art needs more than an artist, but also a technician. Being a painter and writer since my early days, it wasn’t challenging to use engineering discipline to express stories people should see, hear and feel. As an admirer of beautiful heart-touching stories, social justice and public enlightenment, filmmaking presented itself as a reliable way of expressing to people how life is, and lessons from it. Building relationships is a valuable aspect of the art.
Did your background play any role in your present choice?
Funny question. No, actually the filmmaking started as a relief from studying engineering. Unlike Nigeria, American lecturers drill students extensively in their areas, both theoretically  and practically, therefore any escape from studying has to be an activity that is well worth it. If my background played a role here, it opened to me a window into the filmmaking world, and there wasn’t any hesitation for exploitation.
What motivated you to start film production?
In a Sociology class that I was a Teaching Assistant (TA) at Penn State University, a required project was a Public Service Announcement (PSA) video that informs against racism, tribalism and sexism. As a teacher, it is important to learn filmmaking, so as to be helpful to the students. Seeing how effective those PSAs are in calling people’s attention, a lot of energy was poured into learning filmmaking so as to use the skill to enlighten against all forms of social injustice.
You are mostly into production of short films, and what does it take to produce short films? Is it that they require small budget to make or what?
In poetry, shorter poems are much more challenging to write than longer forms, because of limitation of words, but a requirement to express the idea. In the art of filmmaking, telling a story in less than five minutes is a challenging task. It requires the use of storytelling skills, and technical know-how to quickly grasp the attention of the audience onto a particular story, hold onto the audience’s mind and quickly move and develop the story before the attention span goes away. What makes a good short story is not only that the story is told eloquently, but flawless use of techniques keeps the audience excited and asking for more. It is an ideal way of learning and perfecting the art. Unlike Nigeria where it is easy to find unemployed youth willing to do anything for a living, good actors in the U.S have not only limited time, but a demand in compensation due to the competitive cost of living. While in school, the finite resources secured allowed for only short films, cornering me to quickly learn the art under significant pressure. Most of the short films were made while at Penn State University.
In what ways do short films differ from full feature films?
Short films need story ideas that can be delivered in little time, while full feature films allow for more complex ideas, patiently and gradually delivered with time.
‘A Dark Place’ is said to be your first screenplay. What is it about and did the audience receive it?
It is about how this world is turning into a dark place, with people’s hearts and minds becoming slaves of worldly materials, discarding ethical morals, happiness, knowledge, wisdom and sense of righteousness.  It being a “film noir”, popularly known as dark film genre. Not a lot of people will enjoy it, because it is not action or romance. So, a limited audience had received it in the United States with complimentary reviews, and currently several independent film companies are in the process of acquiring it for distribution. Eventually, it will be available digitally for purchase online.
Where do you get the inspiration to write screenplays from?
Life, love, happiness, nature, family and Nigeria.
What gives you satisfaction as a filmmaker?
Making the people I work with happy. What I have learnt the hard way, is how much faith people entrust into the hands of a filmmaker, while they spend countless time and energy working, with little imagination of what the final product might be. I believe they should be made happy, whatever the situation is. I believe they should enjoy their work, and be respected. It is the most a filmmaker can do to compensate for the faith and dedication.
In 2011, you reportedly received a grant to produce various political films for the Nigerian government. Can you expatiate on this?
I have worked with several prominent Nigerian politicians and government officials with good ideas and desire for the people, but I am disappointed to see a lot of them ineffective. A new wave of young political leaders, technocrats and patriots are emerging.
You are an American, as well as Nigerian. How do you compare the two countries in filmmaking?
Filmmaking in the U.S is a culture that has different contexts, forms and audiences, effectively communicating, and serving as a reliable form of quickly disseminating information. In Nigeria, the industries are on their way to become world class standard. There have been a lot of improvements so far in writing, imaging, picture quality, sound quality, use of sound, cinematography, editing and sound mixing. I have high hopes for the film industries in Nigeria.
What are some of the things you think Nigerian filmmakers can learn from their American counterparts?
Because filmmaking is an art, and easily becomes part of a culture, Nigerian filmmakers need not to look far for knowledge and technical expertise. All the tools are available, but need to be arranged. U.S cultures and Nigerian cultures are different, so learning from U.S filmmakers will dilute the distinct Nigerian genuineness.
How much do you know about the Hausa movie industry known as Kannywood?
I think it is vibrantly developing, like most young film industries in sub-saharan Africa.
Any relationship with Kannywood/Nollywood?
Not yet, but I am looking forward to work with professionals in both industries.
In what ways can the Hausa movie industry be improved? Any shortcoming you have noticed?
I am sure the current industry is on the right track, because all film industries go through an evolution. Its perfection is gradually materializing, and the key is beautiful heart-touching stories.
You have visited every African country except Mozambique. How many other countries have you visited?
As a journalist with the Voice of America (VOA), it is important that I learn extensively, not only about Africa and her countries, but most parts of the world. I enjoyed Nairobi, Yiwu, Paris, Tokyo and London.
Apart from movie making, you are also said to be interested in several other businesses? What are those businesses?
I currently run an exporting business dealing with science and geological equipment from the U.S, and also, I am trading Flashlights with China. I am exploring business ideas in Nigeria.
You have won quite a number of awards; can you tell us some of them?
Of the final projects I worked on before graduating from the university, is modifying a tricycle to fit a man who doesn’t have hands and legs. Seeing the handicapped man excited about the tricycle, an emotional passion led our team of Biomedical Engineers to build a working tricycle. Out of hundreds of other projects sponsored by world-famous companies like Boeing, DOW and Lockheed Martins, ours won 3rd best project, and 1st place for the video that documented the project which I produced. I find it important because thousands of Nigerian disabled people are not the focus of the youth.
Some of my awards include first Place PSU Sustainable U Video Competition; winner first Place Engineering Senior Design Project Video Competition; winner 48 Hour SFO Film Festival (Fall 2010); winner 96 Hour SFO Film Festival (Spring 2011); finalist Rock Ethics Film Competition; Best Use of Prop – National Film Challenge 2011.
What are you working on presently?
I have just completed my first full feature of Nigerian documentary titled “The Happiest People on Earth”, which features eye-popping interesting people and their lives, like a man who has been selling antique coins for 55 years, Gov. Rabi’u Musa Kwankwaso of Kano State, and a genius teacher who wrote a book about Computer for Hausa speaking children.