Yourcinemafilms.com | Critically-acclaimed director Teniola King shares her journey from producing TV shows in Nigeria to her breakthrough short film Teju's tale to shadowing the team behind the Crown!
Phenomenal journey full of ups and downs and there's more to come!
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Phenomenal journey full of ups and downs and there's more to come!
’Welcome to Your Cinema'
Follow us on socials:
Tiktok: @yourcinemafilms
Instagram: @yourcinemafilms
Twitter: @yourcinemafilms
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FunTranscript
00:00 (upbeat music)
00:02 - Welcome to another episode of Industry Notes today.
00:07 It is the place where we really get up close and personal
00:12 with the people who are like smashing it
00:14 across the industry, you know, get their tips,
00:17 get their secrets and yeah, that's what we're here to do.
00:22 We have got an amazing special guest this week.
00:27 She is a writer, a director,
00:31 very critically acclaimed as well.
00:33 If you've seen her work, you know what I'm talking about.
00:36 Even though I've called her a writer director,
00:39 I know that she's more than capable of wearing many, many,
00:43 many other hats because her experience says so.
00:46 But yeah, I think I just wanna introduce someone who is,
00:52 I believe probably gonna be quite iconic for the future.
00:57 So yes, I introduce none other than Teniola King.
01:02 What's going on?
01:03 - Thank you for that amazing introduction.
01:06 I hope it's always funny when you're listening
01:08 to people introduce you 'cause you're like.
01:10 But thank you, that's really kind of you.
01:14 Thank you and amen to being iconic in the future as well.
01:17 And thank you for having me on this one.
01:19 - Well, do you know what?
01:20 I'll touch on it later,
01:22 but I guess I haven't stretched the truth to be fair.
01:26 I kind of just reeled off like what you've done in it.
01:29 But I'm gonna go straight in, right?
01:33 Like, how did you get into production?
01:38 I was gonna say film, but I know like you,
01:41 your experience stretches far and wide further than that.
01:44 So just how did you get into like media and production?
01:48 Where did this all start for you?
01:50 - So actually in A-levels,
01:52 I was the person that always had the camera.
01:55 So I would like take videos of people,
01:57 record videos, take pictures.
01:59 Like they used to find it annoying at the time,
02:00 but now when I like send them feedback pictures,
02:02 I'm like, not gonna expose my age,
02:03 but like, let's say 15 plus years ago,
02:06 they're like, oh my gosh.
02:08 And I guess back then,
02:09 I just really enjoyed handling the camera.
02:12 I should have gone to university to study film studies,
02:17 but at the time I'd already applied to study economics.
02:19 And I was like, yeah.
02:20 And you know when you're younger,
02:21 you're not really thinking of the future like that
02:23 to be fair.
02:23 So I'm like, all my mates are going to uni now.
02:27 I don't want to take a gap year out
02:28 to do film studies to go to uni.
02:29 So I might as well just go to-
02:30 - Wait, what were your A-levels?
02:32 - Ooh, well, my A-levels were really random by the way.
02:37 Biology, business studies, government and politics,
02:42 mathematics and general studies.
02:45 - You did five A-levels?
02:47 - Yeah, yeah, yeah, yeah, yeah.
02:48 Yeah, it was one of those ones.
02:51 So yeah, I didn't do too badly.
02:53 I mean, I think it was like-
02:54 - A's and B's, isn't it?
02:55 - Yeah, A's and B's.
02:56 One cheeky C in biology,
02:57 but I won't speak about that today.
02:59 (laughing)
03:00 But yeah, as you can see, it was like a random, yeah.
03:04 I wanted to do economics,
03:06 so I don't know why I did the other stuff.
03:09 Honestly, I don't know.
03:09 Honestly, I really don't know.
03:11 But yes, I went on to study economics
03:14 at University of Liverpool.
03:15 And then after that, I knew I wanted to do film.
03:18 So I was like, okay, let me just,
03:19 I prayed about it 'cause I'm a Christian.
03:21 And I'm a firm believer of like
03:24 doing what God has called me to do.
03:25 So I'm like, God, this is what I feel like I should do.
03:27 Like, let me know, let's talk about it.
03:30 And I felt like that's what he was leading me towards.
03:33 So after university, I went back to Nigeria.
03:35 So I'm from Nigeria.
03:37 I was born here, but I did secondary school in Nigeria.
03:39 So I've kind of lived in both places.
03:41 And after uni, I went back to Nigeria
03:44 to do something called a service here.
03:46 And through that- - And was that compulsory?
03:49 - So, I need to be careful what I say.
03:51 So basically, service here is,
03:54 if you want to work in Nigeria,
03:56 you need to have served the country for a year,
03:58 which is kind of like, let's say like a military camp
04:01 for like three months, sorry, not three months,
04:03 three weeks.
04:05 And then you go on to like work in a school or a company.
04:08 And then after that, you get a certificate that says,
04:09 okay, you've served your country,
04:11 and now you can work for a company or in government
04:15 if you want to at some later date.
04:17 Not everybody does it, but I'm not gonna speak on that.
04:20 (both laughing)
04:22 But I did.
04:23 And while I was doing that,
04:25 I then started interning on a TV show called "Tinsel,"
04:28 which is basically one of Africa's longest running
04:31 television drama series.
04:33 - Wow.
04:34 - Yeah, so that's how I got into it initially.
04:36 - And so with that service, right,
04:39 how did you end up in like the TV show?
04:46 Was that like part of the plan or like,
04:49 or like do you even get to choose
04:50 what industry you go into?
04:52 - So you, no, no.
04:55 I mean, before, yes, but now I guess
04:58 most people just do schools.
04:59 I was teaching at the time as well.
05:01 Just another, I feel like I've done,
05:03 you know when you just think about your life,
05:04 anyways, I was teaching.
05:05 But then the way I got into TV,
05:08 like one of my aunts knew I was interested
05:10 in getting into film.
05:11 I basically, no, like one person knows another person.
05:14 So like one of her uncles was working at "Tinsel."
05:16 I was basically like, oh, I have one daughter
05:18 that wants to, you know, get into film.
05:21 Are there any opportunities for her?
05:22 And he was basically like, yeah,
05:23 let's just come through.
05:24 And that's how I got the job interning in.
05:26 So I was literally just kind of,
05:28 I kind of formed a program for myself.
05:30 So it's like, okay, do you know what?
05:31 Each week I go in, I'm going to go
05:33 to the different departments,
05:34 spend time with them, talk to them,
05:35 ask them different questions.
05:37 That was the first time I was ever on set.
05:39 So I feel like it was so funny
05:41 because I actually didn't know sets existed.
05:43 I don't know what I thought.
05:44 I don't know how I thought films were made,
05:45 but I was like, oh my gosh, this isn't a real room.
05:48 And this isn't a real sitting room.
05:50 Like what is going on?
05:51 That was a very eye-opening moment for me.
05:54 As I said, "Percussions" is one
05:55 of the longest drama series that's been going on
05:57 for years now.
05:59 It was a very big eye-opener for me.
06:01 So yeah, I was just like, aunt, uncle.
06:02 But then I did the work when I got there
06:04 by showing up to each department,
06:06 asking them questions, speaking to them,
06:09 and yeah, finding out what they do, really.
06:11 - Wow.
06:12 So when, how long were you there
06:16 and what happened after?
06:20 - So how long was I in Nigeria?
06:23 - On "Tinsel."
06:24 Just in case you went to like a different show
06:26 or anything like that.
06:27 - Okay, yeah.
06:28 'Cause I was on "Tinsel" for like about a year.
06:30 - Yeah.
06:31 - And then an opening,
06:33 there was an opening for a production assistant.
06:35 And I was like, okay, cool.
06:37 Like, you know, if I was been here for a year.
06:40 Production assistant, I mean, it's a job,
06:42 but you know, like you don't need that many qualifications.
06:44 I know everybody here.
06:46 So, you know, at Long Story Short,
06:47 they actually gave the job to someone else.
06:49 I was like, exterior.
06:50 And I was just like, huh?
06:52 I was so gone.
06:52 I was like, what?
06:53 But I was like,
06:55 'cause one of my favorite scriptures is,
06:56 "Authors work together for the good of those who love God."
06:58 So I was like, okay, fine.
06:59 Authors work together for the good.
07:01 Okay, cool.
07:01 God, you know what's going on.
07:02 So, okay.
07:03 At the same time,
07:04 my mom wanted me to come back to London to do my master's.
07:07 Do you know like Nigerian parents,
07:08 "I have to get your master's, I have to get your master's."
07:10 I'm like, "Mom, you know,
07:11 it doesn't really work like that in the film industry.
07:13 Like, if you and someone else are going for the same job
07:16 and they have a master's,
07:17 they pick that person and you're like,
07:18 "Mom, it just doesn't work like that."
07:21 But anyways, I applied to NFTS, funny enough.
07:24 And I got an interview to do for the directing course,
07:28 I think it was.
07:29 But because I was in Nigeria,
07:31 they were basically like
07:32 that they wouldn't do a Zoom interview for me.
07:34 Obviously, this is clearly pre-pandemic,
07:36 'cause if it wasn't, I'm sure they would have done it.
07:39 But this was a long time ago now, this was 2013, 14, 2014.
07:44 So yeah, so they're like, "No, I can't do it."
07:48 Spoke to my mom, she was like,
07:49 "No, I can't come back to London to do the interview."
07:52 And I was just like, "Mm-mm."
07:53 All friends went together for the good,
07:55 like, "Okay, no problem, I'll stay here."
07:57 And long story short, at the same time,
07:58 another show was starting called Highlights with Aike.
08:01 Another show, 'cause it was a new show,
08:03 they needed to fill all the crew roles.
08:05 And production assistant was one of them.
08:07 So someone at Tinsel, the DOP at the time,
08:09 he said to me, "Oh, there's a new job on that.
08:11 I should go speak to the person
08:12 that's gonna be the line producer for the show."
08:15 And he won't mind me saying this,
08:16 but basically this person,
08:17 I was very scared of him initially.
08:21 And I was like, "Oh, I don't wanna talk to him,
08:22 I don't wanna talk to him."
08:23 But obviously, it's like, you have to put your foot forward
08:25 if you wanna get opportunities.
08:26 So I went to speak to him.
08:28 I was like, "Oh, I heard there's a new show that,
08:29 can I be the production assistant?"
08:31 He said, "Oh yeah, I should call him later."
08:33 Long story short, I got the job.
08:35 And from then, within like three months
08:39 of being on that show,
08:40 I became the line producer of that show.
08:42 And I say all of that to say,
08:45 authors do work together for the good,
08:47 because if I'd been on Tinsel
08:49 and gotten a job as a production assistant there,
08:51 there's no way that I would ever, ever, ever
08:55 jump to become the line producer within three months.
08:58 Talkless is even like the project manager,
09:01 that shift wouldn't have happened
09:02 'cause it's a long standing show.
09:05 And there's so many different people
09:07 that would have taken like a few years.
09:10 But within three months,
09:11 I was literally promoted to become
09:12 the line producer of the show,
09:14 which I thank God for.
09:15 Like that was just like grace.
09:16 I can't even explain that.
09:18 So yeah.
09:19 - Look at that.
09:20 So then, with that right,
09:22 when you got made line producer,
09:27 how did you know what to do?
09:29 - Oh, I didn't know what to do.
09:30 (laughs)
09:33 Yo, it's so funny because,
09:36 and the show's called Highlights with IK,
09:38 it's with IK Osakiodua,
09:40 who's like literally the biggest name
09:42 when it comes to like hosting like shows in Nigeria.
09:45 He's done The Voice, Big Brother Africa,
09:48 Pop Idol, I think.
09:50 So like he's the person that hosts the big shows, right?
09:53 But because of how he is as a boss,
09:56 like he made the show very family oriented,
09:59 like it's very like,
10:00 literally one of the best bosses I ever had.
10:02 So I was in Nigeria literally last year,
10:04 went to go say hi to him and his family.
10:06 And I said to him-
10:07 - No wait, he was talent and the boss?
10:09 - Yeah, so he was the host and the executive producer
10:12 as well.
10:13 - Interesting.
10:13 - Yeah.
10:14 But he's honestly one of the best people you'll ever meet.
10:17 So I went home in November, literally 2022,
10:21 and went to go see him and his family
10:22 because as I said,
10:23 we've now become like literally family after the show.
10:25 And I said to him,
10:26 "Why on earth, like, why would you give me like that job?
10:29 Like, you know, I didn't have an experience.
10:30 I had music in school, like nothing."
10:32 And what he said to me was at the time
10:34 as production assistant,
10:36 I was doing the job of production assistant and more.
10:40 So he said to me that literally
10:42 they would all have a production meeting
10:43 before he gets in his car and gets to his house.
10:45 Before he gets to his house,
10:47 I've already sent out the minutes of the meeting,
10:50 sent out everybody's actions that they need to do
10:53 before the next meeting.
10:54 And I was basically doing the job of a line producer
10:57 without actually doing the job.
10:59 So he was like, "This girl can't be
11:01 in a production assistant role
11:01 because someone else is going to snap up
11:03 this person that's doing all the work.
11:05 So let me promote her to something
11:06 that she'll be able to feel out into
11:08 and understand the ropes of the job as they go along."
11:11 And I can only thank God for that
11:12 because as I said, he's the kind of person
11:14 that just believes and invests in people.
11:16 And I thank God I was able to take on that role
11:19 and do the job and then also go on to do,
11:22 to become a series producer on another show
11:24 with one of my other good friends now
11:26 called James Orokwe.
11:28 So yeah, that's, yeah, it was God's favor,
11:32 but hard work at the same time.
11:34 - I love that, amen.
11:36 So you've gone from production assistant,
11:41 line producer, series producer,
11:45 you're basically in the-
11:47 - I'm fixed.
11:48 - Yeah, you're there, right?
11:50 What, how does the transition back to the UK now happen then?
11:57 - My mom, once again.
11:58 (both laughing)
12:00 - I love it.
12:01 - It's basically like how I need to come and do my master's.
12:04 So this is my first, I didn't come and do,
12:06 like, so this was, so 2014 is when I first started
12:09 as production assistant.
12:10 So fast forward to 2016, she's like,
12:13 "I need to come and do my master's."
12:15 I'm like, "Ma, I'm literally at the time I was 20."
12:20 I'm gonna expose myself now.
12:22 - Don't worry.
12:23 - I was 24 at the time,
12:24 26 or 24 at the time.
12:26 I'm in Nigeria, I'm a series producer of a show,
12:30 line producer of another show.
12:31 I'm making money for that time and for the currency,
12:34 like the climate over there, like.
12:36 - Nice.
12:39 - I was set, I was very, very set, yeah.
12:42 And especially like just where Nigeria is,
12:45 and like I was working with MNET and it's like,
12:47 you don't have people that are this young
12:49 being producers of big shows like this.
12:51 These are literally African magic shows.
12:53 So like, these are across the whole of Africa.
12:57 So I was like, "Wow, I'm gonna leave this to be,
13:00 to come to London to become a runner, no."
13:03 But she was like, "Nah, nothing bad with runners by the way,
13:07 everyone needs to start somewhere."
13:09 But she was basically like that,
13:10 "No, I need to come and do my master's."
13:12 A long story short, the person I was seeing at the time,
13:15 he was basically, he gave me one of the best advice
13:17 of anyone's ever given me.
13:18 He literally said to me that,
13:19 "Tenny, the beautiful thing about your industry
13:21 is there's always gonna be a new film.
13:23 There's always gonna be a new TV show.
13:25 So even if you do go away and study the craft properly,
13:29 like you'll still be able to get back into the game
13:31 'cause there's always gonna be a new project
13:32 that comes along."
13:33 Whereas with, if you're like a doctor, for example,
13:36 you need to go to medical school first,
13:37 then you do this training and that training,
13:39 you need to kind of like climb the ladder,
13:41 same with other professions.
13:42 With film and TV, you can kind of take up some time,
13:45 do the work, even with music as well.
13:47 Like you can kind of go away, do the work and come back.
13:49 And he was basically like how I kind of have used hard work
13:54 and grace to get to where I am today,
13:56 which was a series producer,
13:57 but I need to know the craft.
13:59 And for me, I also felt like I needed to understand
14:00 the craft of filmmaking so that if the gaffer
14:04 or the DOP comes and tells me they need 100 lights,
14:06 like this place, because I have the knowledge,
14:08 I could be like, "No, we can do this, this, this, this,
14:11 but because I didn't know, I'm like, okay,
14:12 what's the budget?
14:13 If it's too much, okay, let me give you 80 lights."
14:16 I just didn't have the filmmaking knowledge.
14:19 And yeah, so that was basically it.
14:21 So I applied to the London Film School
14:23 and even that one was great the way I got in,
14:25 what I got in and yeah, that's how I came back to London.
14:28 - So what happened then?
14:30 'Cause that's, like it's a really good film school,
14:33 do you know what I mean?
14:34 So what happened?
14:35 - So, so I guess, and I guess this is also all things
14:40 working together for the good,
14:41 because by that time when I applied to film school,
14:44 I had then become a line producer and a series producer.
14:48 So I had some credits under my name
14:50 and then I wrote this funny script.
14:54 Like I think that the task was to write a script.
14:57 I really wish I could find that script,
14:58 I think it's on my laptop, that's dead.
15:00 But I wrote this, I like the script,
15:01 I think I remember really liking the script,
15:02 I'm sure if I read it now, I'll be trash,
15:04 but I like the script.
15:05 And I applied and then I had an interview
15:08 and what I'm about to say now, no one can judge me, okay?
15:11 I'm just gonna put that out there.
15:13 But during the interview, he asked me lots of questions
15:16 and then he asked me who my favorite director was.
15:19 Now, because like I enjoyed films and I love films,
15:23 but even to this day, I can't really say
15:26 there's this particular director,
15:27 this is how I love their work.
15:28 I'm not gonna, I can't really, I'm not gonna lie.
15:31 That's not for me, I'm more of a film person,
15:33 I enjoy films and then I look into the director's work.
15:36 He was like, "Well, who's my favorite director?"
15:38 Asked me if I knew any directors' names, I was just like,
15:41 so I mentioned a Nigerian one,
15:43 I kind of just, you know, went my way around it.
15:46 I said, "Okay, nice, nice, nice.
15:47 What about any Western, like Western directors?"
15:51 And I kid you not, I was like, "Steven Spielberg."
15:53 And then he said, "So what did you say?"
15:55 So I didn't know how to say this guy's name.
15:56 Don't judge me, do not judge me.
15:59 But I didn't know how to say Steven Spielberg, right?
16:00 I didn't, I knew who he was, but like, I guess.
16:04 - Yeah, no, I get you, I get you.
16:05 - I was like, "Oh, Steven Spielberg."
16:07 And then he said, "Oh, okay."
16:09 (laughing)
16:11 Excuse me.
16:13 So I go, "Okay, then what do I like about him?"
16:15 Ah, I'm just a little caught.
16:16 Asked me if I knew any of the names of his films.
16:18 And this is how Grace comes in at times,
16:20 obviously afterwards I went to go do my work.
16:22 And I was like, "I really like the way he appears
16:26 in his films when he does them."
16:28 (laughing)
16:30 The guy that you just looked at me, he was like,
16:34 "Oh, okay, that's nice."
16:36 'Cause I don't know what's his name,
16:39 it's even gone out of my head now,
16:39 I always forget his names.
16:40 But the guy that's sadly passed away now.
16:43 The, no, the, he's popular.
16:48 I'm sure someone's shouting at the screen,
16:51 shouting his name right now.
16:53 The Marvel man.
16:54 - Oh, Chadwick.
16:56 - No, not Chadwick.
16:57 It's like he's an exact-- - Oh, Stan Lee.
16:59 - Yeah, yeah, yeah, yeah, yeah.
16:59 Exactly, can you just see me?
17:01 Anyway, that's who I was talking about.
17:03 - Okay, okay, I get what you mean, yeah, yeah, yeah.
17:05 - So this guy just looked at me like, "Okay."
17:08 But then, lo and behold, one week later,
17:10 I got an acceptance letter saying, "All glory to God."
17:12 (laughing)
17:14 I'm sorry you didn't use my lack of knowledge of directors
17:17 to compare it to the knowledge
17:19 at least I had a bit of in film or storytelling
17:21 and everything, giving some sort of potential.
17:23 But we thank God that he said,
17:25 "It's okay for this girl to come in,
17:27 even though she's saying Steven Spielberg."
17:29 - Legend, legend, legend.
17:31 So, you know, I guess going to film school, right?
17:36 It's interesting, I've never been,
17:40 but we did an interview with RM Moses not too long ago,
17:45 who literally, he's just finishing up
17:47 at London Film School.
17:48 I think he did a master's as well, right?
17:51 And he said, "Oh, do you know what?
17:55 He probably had the most experience
17:58 out of the people there."
18:00 A lot of people were just doing it
18:03 'cause they were interested
18:04 and they didn't have any experience or anything.
18:07 What was your experience of going to film school?
18:11 Like given that you were producing shows,
18:14 do you know what I mean?
18:15 Like mainstream.
18:18 Yeah, so what was that like for you?
18:22 - Shout out to Remy though,
18:23 'cause like Remy's actually one of my friends
18:25 'cause we're film school buddies.
18:26 So, shout out to Remy.
18:28 Looking forward to seeing his new film, "Saving Arts."
18:31 Should be exciting.
18:32 So interestingly enough, I felt like
18:37 I had imposter syndrome because I knew I had done,
18:41 you know, I need to be very careful how I say this,
18:44 but like as a producer,
18:45 obviously the better producers
18:48 are the ones that understand storytelling.
18:50 I feel like the more you understand storytelling,
18:52 no matter what role you are,
18:53 the better you are in that role.
18:54 But there are some producers
18:56 that don't really have an understanding of storytelling.
18:57 And I'm sure that people shout it at the screen like,
18:59 "Yeah, that's why they don't understand my treatment."
19:01 I get it.
19:02 But they know how to manage the production.
19:05 So they can make sure to get the cars cool,
19:06 the location, money, everything is sorted out.
19:09 So I feel like I was that type of producer.
19:11 So I was good at sorting everything out
19:13 and making sure everybody had what they needed,
19:15 but I didn't really know storytelling that much.
19:19 So getting to film school,
19:20 yeah, there were people there that had done short films,
19:24 this and that and that.
19:25 And like, you know, some people have an air in film school,
19:29 like how they feel like they're better than everyone else.
19:31 So I just kind of had a bit of an imposter syndrome
19:36 and I was just like, I knew I didn't know anything.
19:38 I didn't know how to use a camera or lighting.
19:40 I didn't know anything.
19:41 And especially at the London Film School,
19:43 it's a filmmaking course.
19:44 So you're doing everything,
19:46 writing, directing, editing, lighting, camera, sound,
19:48 production design, everything.
19:49 So yeah, I kind of, and even like my time there,
19:55 there were times where I felt like
19:58 I was kind of pushed to the back
20:00 because I didn't have that film knowledge
20:03 like everyone else had.
20:06 So it's kind of thing that people would pick teams
20:07 up, get picked last or not be picked at all
20:10 when they're not gonna have to get into a team.
20:12 So yeah, that was how I felt getting into film school.
20:17 But I guess by the end of my three years there,
20:21 like I then was able to be like confident enough
20:24 to like speak and do things like that.
20:27 So yeah, it was a very interesting transition.
20:30 - How did you feel when those things were happening?
20:33 - Oh, you want me to cry now, Pierre?
20:36 I'm just joking.
20:37 (laughs)
20:38 Sorry, I actually joke too much.
20:40 I felt bad.
20:43 I felt, yeah.
20:45 Well, then I guess my Nigerian mentality kicked in.
20:48 I was like, "Hey, you guys are here just talking anyhow,
20:51 talking about everything you've done,
20:52 but all of us are still in the same place now.
20:54 So where has your background got to YouTube?
20:58 Clearly not too far."
21:00 I'm joking, not joking.
21:02 So I guess that was my age.
21:03 I was like, "Well, we're all here now.
21:05 We're all here to learn.
21:06 And I'll find the people that I will work with
21:08 and get things done."
21:09 And at the same time, while I was doing that anyways,
21:11 I was on sets running.
21:14 So like going back to like,
21:15 obviously I was a series producer in Nigeria,
21:17 but now I'm like, "Okay, let me try
21:18 and get into the industry here."
21:20 So I was on music video sets.
21:22 - So this is whilst you were at film school?
21:24 - Yeah, whilst I was at film school.
21:26 I was working with someone that goes to my church
21:28 and he had a production company
21:30 that would do like beauty products, this and that.
21:32 So I was literally on set with him,
21:34 packing up, loading up, shooting short films.
21:37 I remember I was even a production assistant
21:39 on Kobe's film, like "Haircut."
21:41 Like I was just doing things off set.
21:44 So that was also helping me to like gain knowledge
21:47 within film.
21:47 So while I was studying, I was still making sure I was working
21:49 and getting some money as well, but mainly for the work.
21:52 I did internships, I did internships at Lionsgate.
21:54 So I was making sure I was just-
21:57 - Hey, okay, we're going to come to that Lionsgate point.
22:02 - Information.
22:03 - You mentioned story, right?
22:05 And I know Kobe's big on this, right?
22:08 With, how did you, where did you, no,
22:13 how did you learn the craft of putting together a good story?
22:17 Was that through film school or were you like,
22:20 "Nah, do you know what?
22:21 I need to pick this thing up quicker.
22:23 Like I need to do some extra stuff."
22:25 - So my film school, we had writing classes
22:28 because each term we'd need to do a project,
22:30 and we'd follow us with picture projects
22:31 and then we'll pick the best one.
22:33 But, so we did have writing classes,
22:38 but I also studied myself.
22:40 I do a lot of self-study.
22:41 I read books.
22:42 So my favorite two books would be "Save the Cat"
22:45 by Blake Snyder and "Story" by Robert McKee.
22:49 But then I also study a lot online.
22:51 So StudioBinder, they really should be paying me
22:54 by this point 'cause I always plug them.
22:56 But StudioBinder has so many amazing videos
23:00 about storytelling and the craft of filmmaking.
23:03 So I would literally just study and read
23:05 and study and read.
23:06 So I guess it's a combination of the two
23:08 because school only teaches,
23:09 and like any course you do,
23:10 any course you do, whether it's economics, accounting,
23:12 whatever, like you only learn so much in class.
23:14 You need to go back away
23:15 and then do your own personal study
23:17 and really get as much information as you can.
23:20 So I think that's how I learned.
23:21 I mean, I'm still learning, but I'm not professional.
23:24 Still learning and still working on it.
23:25 But at least when I see older scripts
23:27 and I see my newer scripts now,
23:28 I can see like the transition and growth.
23:31 So yeah, that's how I learned storytelling.
23:33 - I love that. I love that.
23:35 So cool.
23:37 You're in film school.
23:38 You've finished now.
23:40 You're a lot more confident.
23:41 How did your short film with DBK Studios,
23:48 Big Up DBK Studios, all the time?
23:57 But yeah, because that was that,
24:00 I'm assuming that was like really pivotal, right?
24:03 But before we even get to that,
24:05 how did that situation happen?
24:07 You finished film school.
24:09 How did we get to Teju's Tale,
24:11 Bibi, Darlene, Sky?
24:14 - So my graduation film is called Giddy High Life.
24:20 And I shot that in Lagos, Nigeria.
24:23 So it was very, when I got to film school,
24:26 - Where can I see that?
24:28 - Well, I'll send you a link.
24:31 I'll send you a link.
24:31 - Please do. Yes.
24:33 - Anyways, God is good.
24:35 I'll send you a link.
24:36 But long story short,
24:37 when I was in film school, my first term there,
24:41 when I, in first time young,
24:42 I just go and watch the graduation films.
24:45 And when I was watching graduation films,
24:47 that's when I met Kovi.
24:48 And he was showing his film, House Girl.
24:51 So when I saw House Girl, I was like,
24:53 ah, I'm definitely gonna shoot my film in Nigeria
24:55 because, you know, why not?
24:58 So fast forward, three years later,
25:00 I shoot my short film in Nigeria.
25:02 And even that was a blessing and a half.
25:05 I had to do a Kickstarter.
25:06 We were able to raise 8,700 pounds or so on the Kickstarter.
25:10 And then went to Nigeria to shoot.
25:13 So obviously, you know, Nigeria have like power outages
25:15 and stuff.
25:16 I was able to get like a location for free
25:18 in like a community or an estate that has a central
25:23 like hub for power.
25:24 So there's like no generator sounds,
25:26 like so many different blessings for this project.
25:28 And that's why I have to thank God for it.
25:31 But if I'm being truthful, like by the end of it,
25:33 I wasn't really too happy with it.
25:35 I felt like I could have done better.
25:36 I felt like it didn't look the way I wanted it to look.
25:40 But then I also know it was a blessing to do that project.
25:43 But I guess like with your, it wasn't a failure,
25:45 but I guess when you're not happy with something,
25:47 it gives you like the encouragement or the drive
25:49 to do better on your next project.
25:51 So finished "Giddy High Life", put out to festivals,
25:55 didn't get to anything.
25:55 I think I've gone to two festivals.
25:58 But then having said that,
25:59 "Teju's Tale" has only gone into two festivals now.
26:01 So it's interesting how people judge
26:04 how the short films are on festivals.
26:06 And you shouldn't do that.
26:07 Because "By God's Grace and Mercy",
26:09 I know "Teju's Tale", "By God's Grace and Mercy"
26:10 is a good film, but only got into two festivals.
26:13 Does that mean it's a bad film?
26:14 No, it just means, hey, for whatever reason,
26:16 they didn't accept it.
26:17 Okay, so that's for anyone out there
26:19 that hasn't gotten to festivals.
26:20 Don't worry, keep going.
26:21 (laughs)
26:22 - Great, straight, straight.
26:23 - But, so finished short film,
26:27 finished "Giddy High Life" more like,
26:29 and then the way this happened was,
26:32 Kobe and I, we had a conversation and he was like,
26:34 "Ten, you need to do another film,
26:35 you need to do another, you know, Kobe's like,
26:36 you need to do another film."
26:38 I was like, okay, cool.
26:39 That, yeah, just basically do another film.
26:43 I was like, okay, cool.
26:43 Literally went to bed that night, woke up the next morning.
26:46 I just randomly remembered the story
26:48 my grandma told me in Nigeria.
26:50 So when I was working in Nigeria,
26:51 each time, like after work, I'll get home,
26:55 I'll sit down with my grandma,
26:56 'cause I used to live in my grandma's house in Nigeria,
26:57 and she would just be gisting me,
26:59 just be gisting his talking,
27:00 so that's my Nigerian language,
27:02 when we were coming up.
27:03 But she would just be talking to me about her stories
27:06 of her time as a nurse in England in the 1950s.
27:10 And Tejito was one of those stories.
27:11 So she's like, "Oh yeah, these twins
27:13 just wanted to see my tails and this and that."
27:14 But she got them back, as I recall.
27:17 But so many different stories.
27:18 And so fast forward to 2018, '19,
27:23 I literally wake up in the morning,
27:26 I remember the story randomly,
27:28 and God says, "Write this as a film."
27:31 And I was like, "Hmm."
27:32 And it's a very contained film.
27:34 I was like, okay, actually, it's big enough
27:36 to be impactful, but it's short enough to be a short film.
27:39 So I was like, "Okay, cool."
27:40 So I just wrote the script,
27:42 and then I sent it to Keri.
27:43 And then I think the next day, or even that day,
27:45 he just sends me a message.
27:46 "Oh, this is amazing, we're gonna get this done."
27:48 Obviously, you need some work on it,
27:50 but we're gonna get this done.
27:51 So I was like, "Okay, cool."
27:52 And this was October, 2019.
27:55 So that's, we're gonna get it done.
27:58 All right, cool, let's go.
28:00 Fast forward to 2020, unfortunately, COVID,
28:03 unfortunately, George Floyd gets murdered.
28:05 But then as a result, a lot more people
28:07 are looking to support the Black community
28:10 and minorities in general.
28:12 And then I don't even know how,
28:14 honestly, you need to ask Pum,
28:15 'cause you've probably maybe seen this story before,
28:17 but basically, I don't know how Sky got into the picture.
28:20 I don't know.
28:20 I just know that I think he said he had a meeting with them,
28:22 he told them about this project that he had,
28:24 and they're like, "Okay, cool, let's do it."
28:26 And that's literally how it happened.
28:28 So when I say my life, by God's grace and mercy,
28:31 has just literally just been hard work and God's grace.
28:34 - I see you, I see you.
28:37 - I do my work, and God just blesses the work of my hand.
28:39 So we just done quite a lot of things.
28:41 So that's how that happened.
28:42 There's no elaborate-
28:43 - Yeah, yeah.
28:46 No, that's amazing, right?
28:47 Because I guess,
28:51 and this was one of the points that I wanted to make, right?
28:55 I guess the reason the word iconic came to me
28:58 was because with what I really like about "Teju's Tale,"
29:03 and I find, I found so impressive, right?
29:07 Is like all the films on earth narratives
29:11 were like really good.
29:12 They're really good, right?
29:15 Like top tier films from like top tier creatives.
29:20 But I think what I found really interesting
29:22 about "Teju's Tale" is you really encapsulated
29:27 and successfully portrayed that time
29:31 in terms of like, at least for me, I wasn't around,
29:34 but it didn't feel like, you know,
29:36 sometimes you watch something
29:37 and they're trying to do something.
29:39 Like they might try and reenact like a world war scene
29:42 and there's not enough people in the field
29:44 and da, da, da, da, da, da.
29:45 Like, you know, they're still trying, innit?
29:47 But it just felt like, oh, we're watching it.
29:49 And I remember the first few parts of it,
29:52 maybe the first minute or the first few minutes,
29:55 I remember watching it,
29:56 like even the car and the location.
30:00 And I was like, this looks like,
30:04 oh, you really did that.
30:07 And the reason why I find that so interesting
30:10 is because with what I don't see all the time,
30:15 and like, I find it a bit rare at the moment,
30:18 is like, we're really good at telling our stories,
30:23 which makes sense.
30:24 We probably should be.
30:26 But then it's like, hold on,
30:30 but you stepped into a whole nother,
30:33 like you stepped,
30:35 like you're now playing around with the crown.
30:37 Do you know what I mean?
30:38 Like that era, that kind of thing.
30:41 And I'm like, oh, that is, I haven't seen that.
30:46 And that's a conversation
30:50 that hasn't really kickstarted like yet,
30:54 because people aren't really,
30:55 you don't get like a black director of the crown.
30:58 Like it just doesn't.
31:00 - I mean, soon, I mean, when they do reboots,
31:02 because I know these people, they do reboots in years.
31:06 - Do you know what I mean?
31:07 - And I think my thing is,
31:09 when I've spoken about these things,
31:11 just like in conversations as you do, yeah,
31:13 it's like, well, you know what?
31:15 If I was gonna do something on like "The Royal Family"
31:17 or "Victorian Times,"
31:19 that's not my personal story preference,
31:21 let's say at the moment and all of that stuff.
31:23 But I may not be well-placed to do that,
31:28 because like, A, I guess personal preference,
31:33 but also, that's not been my experience, right?
31:37 So something else might be easier for me to do.
31:41 That's not to say that I couldn't do it,
31:42 it would just be more research,
31:43 but what I'm talking about is a conversation,
31:48 but you manifested that, do you know what I mean?
31:52 So I'm like, ooh, that is,
31:55 and I don't, you know,
31:56 like I haven't seen people really talk about it,
31:58 but that is huge.
32:00 And I want to know how you got that level of authenticity.
32:04 The costume, the location, the vehicles, you know,
32:11 and the vehicle wasn't even in it for that long,
32:14 but it was, you know this better than I do,
32:18 'cause you've studied story, yeah,
32:21 but I don't know why I remember that so much.
32:25 - Okay.
32:26 - You see what I mean?
32:27 But yeah, just how did that happen?
32:29 How did you successfully-
32:30 - Well, thank you.
32:31 Thank you very much for that.
32:32 Thank you.
32:33 - That's awesome.
32:34 - Honestly, I genuinely appreciate people
32:36 that watch the film, first of all,
32:37 but also like take out time to really digest it.
32:39 So thank you.
32:40 I think for me,
32:43 it's just about having a brilliant team around you.
32:45 It's having, honestly,
32:48 and I know it sounds very cliche,
32:50 but I genuinely believe cliches are there for a reason.
32:53 Filmmaking is a collaborative thing.
32:56 You have to have people around you that you can work with.
33:00 And I'm very, very big on authenticity.
33:03 The funniest thing, the biggest thing I was very like,
33:07 this cannot go wrong, was the accent.
33:09 I said, "See, if there's anything that goes wrong
33:11 on this film, that accent has to be 100%."
33:16 Because I am Nigerian, like, yes, I was born here.
33:20 I have spent most of my life here,
33:22 but I have actively lived and worked in Nigeria,
33:24 and I can't take one film home
33:26 and then hear one kind of funny, funny.
33:29 So I was very, very, very, very, very adamant
33:31 that we found someone that had the accent,
33:33 which we found in Dorcas,
33:34 and she was absolutely amazing.
33:36 Absolutely amazing.
33:37 - And is Dorcas actually Nigerian as well?
33:41 - Yes, she's Nigerian.
33:42 - Okay, cool.
33:43 All right, cool, cool.
33:43 - But she's British, so she was born here and has lived here,
33:46 but she has also worked in Nigeria as an actress.
33:49 So as a result, she can do the accents really well.
33:53 So yeah, she's worked in both places.
33:56 But for me, that was the one thing I was like,
33:58 authenticity, that one.
34:00 But everything else, honestly, it's my crew.
34:02 Honestly, for me, it's like, as a director,
34:05 I believe it's very important that I have strong people.
34:08 Everyone that worked with me
34:09 had a lot more experience in the game than I did.
34:13 Like, this is my second short film,
34:15 but everyone else had done multiple short films,
34:17 been in multiple projects.
34:19 But by God's grace and mercy,
34:20 because they believed in the story,
34:21 they were willing to serve the story.
34:24 So when it comes to the car,
34:26 even the money in the taxi,
34:29 I remember his name is Smoko.
34:31 He literally said to me, he asked me what time,
34:34 or what year exactly was the film set in.
34:38 I was like, oh, 1950.
34:38 He said, "Okay, let's pick a year, 1956."
34:41 I was like, okay, cool, because the money,
34:43 depending on what year it is,
34:44 depends on whether or not Queen Elizabeth
34:46 was actually the queen.
34:47 I think the king died in 1954, if that's wrong, forgive me.
34:51 But he was like,
34:53 there'll be a different person on this note.
34:55 So we need to know what year it is.
34:57 So we did 1956, and it was then Queen Elizabeth on it.
35:00 But that level of knowledge, I don't know that.
35:04 Like, how am I meant to, it was my own.
35:05 Like, you don't give that person money.
35:08 But that level of detail
35:10 was what having the right people around gave me.
35:13 Even the cabs, he went around searching
35:16 to ensure that it was the type of cab they had in that time
35:18 that they used.
35:19 The location itself, that was just God's grace.
35:22 Like, we had a location manager
35:24 that went around looking for different places.
35:26 But the exterior shots is actually a completely different
35:28 place from all the interior shots.
35:30 So the interior shots, yeah,
35:32 it was a completely different place.
35:33 The interior shots, so the exterior was in Charlton.
35:36 So that was the house, I think that's Charlton House.
35:38 The interior shots was in Highgate.
35:42 So we went around looking for locations,
35:44 and then we found this one house
35:46 that had, I think it's part of Highgate School,
35:48 but they just don't use the building anymore.
35:49 So it was really, really cold.
35:51 But they have found this one house,
35:53 and this is how God just does things.
35:56 Like, in that one house,
35:57 we found different rooms that could play the different,
36:00 like the bathroom scene, the bedroom scene,
36:02 the matron's office, like all of that is all one house,
36:06 but they all look so different
36:07 and so authentic at the same time.
36:09 But even like the production designer,
36:11 who's talking about how, like the heights of the wall,
36:15 of the ceiling, some of it Victorian,
36:17 some of it is, like, yeah, okay.
36:19 But he knew his stuff.
36:21 So just surrounding yourself with the right people
36:23 that know their stuff,
36:25 and trusting them to do their work.
36:28 'Cause sometimes as directors, we like to hold on to things,
36:30 like, I want, this is my vision, this is my vision.
36:32 But it's like, well, if that's the case,
36:34 then hire a puppet,
36:35 or just do what you want them to do.
36:37 But then if you're gonna lean on someone's expertise,
36:39 then lean on their expertise.
36:40 Like, they're actually professionals in their own right.
36:42 So work with them,
36:44 from the production designer to the DP, Natalie Peters,
36:46 like her shots, her angle, her lighting, this and that.
36:49 We literally just had,
36:51 we sat down like a few days before the shoot,
36:53 and literally just sat down for a whole day on Zoom,
36:57 going through each scene, shot by shot.
37:01 This is what I'm thinking.
37:02 What are you thinking?
37:03 Okay, cool.
37:03 How's this person feeling?
37:05 How are you gonna show that through the camera angles,
37:07 through the height, through the lighting?
37:08 Okay, cool.
37:09 Scene by scene, by scene, by scene, by scene.
37:12 It was a very long day.
37:15 But by the time we got to set,
37:17 I just left her to do her thing.
37:19 She would set up the set, do the lighting,
37:20 do the, set up the camera, do the lighting.
37:23 Hey, Tanya, what'd you think about this?
37:24 Oh, it was great.
37:25 Okay, cool, let's shoot.
37:26 Like, I wasn't on set trying to like tell her to do this,
37:27 or that, I just left her to do her thing.
37:29 Why?
37:30 Because we'd had discussions beforehand,
37:31 and I trusted her work.
37:32 I liked her work before we spoke,
37:34 and she came onto the project.
37:36 So by the time we got to my project,
37:37 I knew she would do the job,
37:38 'cause I liked her work.
37:39 So I guess it's just really leaning on people.
37:41 That's how you get the best out of people,
37:43 and for your work in general.
37:46 I love that, I love that, I love that.
37:48 So now, "Teju's Tale" is done.
37:51 You, you know, "Unearthed Narratives" has come out.
37:57 Boom, boom, boom, boom, boom.
37:59 How did that, how was doing that project
38:04 and being a part of the whole, you know,
38:09 like "Unearthed Narratives" as a package, right?
38:12 How has that impacted your career?
38:14 - Oh, it's been amazing.
38:16 It's given me "Teju's Tale,"
38:18 and the thing about, I think the beautiful thing
38:20 about Sky collaborating with DBK Studios
38:23 is everyone knows short films.
38:25 You don't really make money from short films.
38:27 And I asked a few of my friends,
38:29 "Have you guys made money from your films?"
38:31 They said, "No."
38:31 So a few people do, maybe get like an award
38:35 that give them money, but most people don't.
38:36 So anytime somebody is investing in your short film,
38:39 they're actually investing in you
38:41 because they believe in you and believe in your craft
38:43 and want to see you grow.
38:46 So "Unearthed Narratives" was basically people investing
38:50 in me and in "Teju's Tale."
38:51 They love the story, obviously, it's like a story,
38:53 but like they're investing,
38:54 it's a calling card they've given me.
38:56 And as a result, it's put me into conversations
38:58 with people that have seen the films.
39:00 Okay, this is what you can do.
39:02 Let's try and do this and that.
39:04 So off the back of "Teju's Tale,"
39:06 I was able to shadow direct on "The Midwich Cuckoos."
39:09 - Ah, yes.
39:11 That's not a small thing, but yes.
39:14 - But that was even, I think,
39:16 'cause I don't really think it's short,
39:17 was it even, I think we'd done like an,
39:19 I don't think it was finished,
39:20 but Manpreet, who's the person we worked with,
39:23 God bless Manpreet, we worked with that guy.
39:26 She basically like told me about the opportunity
39:28 and like said I can come on for a week
39:30 and just shadowed with them, which was absolutely amazing.
39:32 - What was that like?
39:36 - Oh, it was an eye-opener
39:37 because I'd never been on a set that big.
39:41 Like I'd been on big sets in Nigeria,
39:42 but obviously here it's like, oh.
39:45 Like big cranes and this and that.
39:48 And like, I don't know,
39:50 if you haven't watched "The Midwich Cuckoos,"
39:51 go and check it out
39:52 because it's such an interesting story.
39:55 So interesting, oh my gosh.
39:57 But it was, yeah, it was an eye-opener for me.
40:01 But then at the same time,
40:03 it made the, by God's grace, potential,
40:07 me potentially going on to direct TV not as daunting
40:11 because I realized that actually,
40:13 it's just storytelling at the end.
40:17 And the director, yes, he has a lot more people
40:20 he's working with, he has a bigger budget,
40:22 a lot more cast, a lot more crew,
40:24 but it's still storytelling.
40:25 Like he's doing what I was doing on my short film,
40:27 but just on a much bigger scale.
40:29 And I guess it then goes into like people,
40:31 it then goes into the people management
40:33 and knowing how you can convey your vision
40:35 to a lot more people.
40:37 Also the same thing, he was like,
40:38 he was coming on set with the script,
40:39 talking to the actors, calling in calls.
40:41 Like he was doing the same thing.
40:45 But I guess it's just also like a lot higher stakes,
40:49 talking about stakes all the time.
40:51 It's like, if it goes wrong with a lot of money.
40:53 But yeah, it was a nice,
40:55 it was an interesting experience.
40:56 It was really great.
40:57 And the team was great as well.
40:58 I still speak to like the producers from there
41:00 and like they're really lovely to me as well.
41:02 So yeah, it was really great.
41:04 - I love that.
41:05 I love that.
41:06 I love that.
41:06 And so what else happened after,
41:09 it's Midwich Cuckoos, isn't it?
41:12 - Yeah.
41:13 - Yeah, yeah.
41:14 So cool.
41:14 Then what happened after that?
41:16 - And then after that,
41:18 like I'm always calling Kobe's name.
41:22 It's one of the comments,
41:23 I stop calling my name in interviews.
41:24 I'm like, oh my God.
41:26 After that, I think Kobe called me again
41:30 and it was like, yo, Tany.
41:31 We were talking about how you love "The Crown"
41:34 'cause "The Crown" is like my favorite series.
41:35 You should email them telling them
41:37 you want to direct an episode.
41:38 And I was like, uh-uh.
41:40 (laughing)
41:42 Uh-uh.
41:43 - Oh, love "The Crown".
41:44 - From Teddie's tail to the crown, uh-uh.
41:47 I was like, yeah.
41:48 That hemo top boy, look at him now.
41:50 I was like, you know what, too soon, too soon.
41:52 So, but obviously at the end, I was like,
41:54 wait a minute, so long story short,
41:55 we literally on FaceTime,
41:59 emailed, Googled who did "The Crown",
42:02 left-hand pictures, okay, cool.
42:03 Who's the executive producer, Andy Harris.
42:05 Okay, cool.
42:06 What's his email address?
42:09 Anyways, found his email.
42:10 Basically guessed his email address.
42:12 It's not gonna work now, guys,
42:13 so they're doing the happy one.
42:15 But basically found his email address.
42:17 I basically just said to code email.
42:20 And I was like, yeah, that's,
42:23 hi, my name is Tany Ola.
42:25 This is my short film, "Teddie's Tail"
42:27 which is on Sky.
42:28 I really love "The Crown"
42:29 and I really love to direct an episode one day.
42:32 As I was writing this email,
42:33 my heart was just doing,
42:34 (mimics heart beating)
42:37 but I said, okay.
42:38 So I sent the email off at like 2 p.m.
42:41 Next morning I woke up,
42:42 who did I get an email back from?
42:44 You know when you wake up from sleep
42:45 and you're still cleaning your eyes?
42:47 I was like,
42:47 he emailed back and he was literally like,
42:51 hi,
42:51 glad to hear about all the amazing things you're doing,
42:55 da da da, obviously to direct "The Crown"
42:56 you need a few credits under your name.
42:58 I was like, probably.
43:00 But, you know I said, but,
43:03 in the meantime he then copied in two other execs
43:05 at the company and was like,
43:07 here's this person and this person
43:09 that they'll get in contact with you,
43:10 all the best with all your endeavors.
43:13 Hi.
43:13 The way I just started bursting out into songs with Preece,
43:16 I said, father, you're good too.
43:17 You're so good.
43:18 And off the back of that,
43:23 to keep the story short,
43:25 I met up with one of the executive producers,
43:26 went to Left Bank, had a meeting with him.
43:28 And it's basically said that he has another show coming up
43:31 and they'll love to invite me to come on
43:32 as a shadow director on that.
43:34 But that show was going to be in Barcelona
43:36 and for two months.
43:37 And I was like, what?
43:39 And that they were going to pay me too to be there.
43:41 And I was like, what?
43:42 And that happened.
43:44 Honestly, I didn't really believe,
43:45 until I landed and I saw my name,
43:47 someone holding my name,
43:48 I didn't believe it was happening.
43:50 And I was like, wow.
43:51 And I guess let's just go back to say like,
43:53 for me, I know my God's grace and mercy,
43:55 like my career has definitely been,
43:56 that's why I've been doing the work,
43:58 but God's hand, just, I don't know.
44:01 I just, 'cause as I said,
44:02 the very first thing I did before getting into this
44:04 was asking God, is this what you want me to do?
44:07 He said, yes, so here's the actual, it's okay.
44:09 And each time I can see God's hand,
44:12 'cause first of all, he needs to get the email right.
44:14 Second of all, he didn't need to reply to my email.
44:16 Third of all, he didn't need to reply
44:17 and then copy people into the email to then act, action.
44:20 Like he just, he didn't need to do that, but he did.
44:23 And I can only just thank God for that, which was favor.
44:27 Like I personally, I do try my best to serve God
44:29 and like, you know, try and show his light
44:31 across the world as much as I can.
44:33 And like, you know, serving church,
44:35 like that's just how I live my own life personally.
44:38 And it's always up to me that if you handle my business,
44:40 I'll handle your business, 'cause I act cool.
44:42 And like, I just see different things.
44:44 So yeah, that was, that's what Tedious Hotel did.
44:48 Tedious Hotel gave me a call and card
44:49 to show people what I can do
44:51 and then invest in what they can,
44:54 just want to support to continue
44:56 to help me to grow as a director.
44:57 So yeah.
45:00 - Wow.
45:02 I love that.
45:02 Shoot your shot, people.
45:04 - Shoot your shot. - Shoot your shot.
45:06 Wow, you've been shooting.
45:07 And I guess I've got a last question for you
45:13 before we close.
45:17 What's it been like working with Kobe for you?
45:21 - Crabs.
45:23 I call him crab now.
45:24 You can't call him that.
45:25 You're calling that a punch.
45:26 I'm just joking.
45:27 Just joking, guys.
45:28 I'm really just joking.
45:30 I feel like, 'cause we met in film school.
45:33 So I would say it's been a very fulfilling friendship
45:38 because Kobe just believed in me from day one,
45:43 for no reason.
45:45 Just like, "Yeah, okay, let's go."
45:46 But you know that's how he is anyways.
45:47 He just invests in so many different people.
45:49 And I feel like his mentorship has taught me
45:52 how to become a better storyteller.
45:54 And he's really just grilled me.
45:56 So Kobe's the kind of person, if you know him,
45:58 if you do something good, he'll sing your praises for you.
46:01 In fact, the whole world will know.
46:02 But if you do something bad at the same time,
46:04 he will let you know.
46:05 So, but that has been a very fulfilling relationship,
46:10 friendship where we've been able to,
46:14 yeah, I've been able to understand
46:15 what it means to be a storyteller
46:17 and how to go for things
46:18 and having someone to support me.
46:20 But at the same time, it also has now encouraged me
46:22 to do the same for other people.
46:24 So I have some people that I work with now.
46:26 I'm like, "Okay, you want to do this?
46:27 All right, let's go."
46:28 I'm just giving everything I can to them, my time,
46:31 my energy, obviously within reason.
46:33 But because my journey all along has just been people
46:36 giving me a chance from my first boss, Ike.
46:39 But boss Ike, he's literally just said,
46:41 "Oh, okay, cool.
46:42 Let's give a girl a chance."
46:44 I feel like, "Okay, cool."
46:45 And for me, it's just been people have invested in me
46:48 since I started doing this from Kickstarter
46:51 to the jobs, everything.
46:53 And I guess as a whole,
46:55 that's now taught me to now also invest in other people.
46:57 So I meet young people now
46:59 that are trying to get into film.
47:00 Like, "Cool, let's talk, 'cause I'm still meeting.
47:02 Let me see your skills.
47:02 Let me give you some notes.
47:04 Maybe try this, maybe try that.
47:05 Okay, come to this showcase with me.
47:06 Come to this screening with me."
47:09 Just encouraging and investing in people.
47:11 And I feel like, especially in this industry
47:13 where everyone's trying to keep
47:15 a lot of information to themselves.
47:18 I'm just like, "Guys, you know, there's like,
47:19 like what's going on, there's a lot to grow.
47:21 There's a lot of money in this industry.
47:22 There's a lot to go around.
47:24 So just share the information."
47:25 And I don't know if you saw that "Let's Show Right" video.
47:28 I think it was posted at the beginning of this year,
47:30 but it's just stayed in my head since.
47:32 And she said, "What is for me will not pass me by.
47:36 And if it passes me by, it's not for me."
47:38 Ah, when I just, I don't know.
47:41 I know it's very simple,
47:42 but it's such a profound statement.
47:43 And once you can get that,
47:45 what is for you will not pass you by.
47:46 And if it passes you by, it is not for you,
47:50 then you actually be all right.
47:52 And as I said, I know I'm a Christian.
47:53 So I know that all things work together for my good.
47:54 Every single thing that happens will always,
47:57 whether it's good, whether it's bad,
47:59 whether they give someone else a production assistant role,
48:01 whether I didn't get into that festival, whatever it is,
48:03 I know that everything worked together for my good
48:05 because I love God and I'm trying my best
48:07 to show my love for God to people
48:09 and what I do and how I treat people
48:11 and serving church, whatever it is,
48:13 that's how I do my life, right?
48:15 And I know that no matter what happens,
48:17 everything's working together for my good.
48:20 So yeah.
48:23 - Ah, I love that.
48:24 I love that.
48:24 I love that.
48:25 I love that.
48:26 Yes. Thank you.
48:28 Thank you.
48:28 Thank you, Teniola.
48:30 Today was, yeah, no, this was a really good episode.
48:34 I love, and we all love what you're doing.
48:37 And it's exciting that it's only the beginning
48:42 because you've come so far.
48:44 And yeah, I think, yeah, we just look forward
48:49 to what else you're gonna just bring
48:51 to the culture and the industry.
48:54 Yeah. It's amazing.
48:56 - Thank you.
48:57 And thank you too, once again, for this amazing opportunity.
48:59 Thank you for Your Cinema, for this platform,
49:02 for investing in us, for showcasing us to the world.
49:06 We really, really, really appreciate you.
49:08 So thank you so much.
49:09 - Thank God.
49:11 All right, guys.
49:12 See you later.
49:13 (upbeat music)
49:16 (upbeat music)