Award-winning filmmaker, actor, businessman and founder of KAP Studios, Kunle Afolayan, has described the relationship between KAP Group and digital streaming platform Netflix as “one of the best things that happened” to the company’s journey.
Afolayan, who spoke as a guest on the Nidacity Podcast, said the partnership allowed the production company to focus more on creating content rather than constantly searching for funding.
“I think for me, I’ll say our relationship with Netflix was one of the best things that happened to Johnny and to the KAP Group because the minute we started that relationship, we started focusing more on making the content instead of running around looking for money.”
The 50-year-old filmmaker, who studied Economics at the University of Lagos and worked as a banker for about six to seven years, also spoke about the financial and distribution challenges faced by independent filmmakers trying to reach audiences globally.
“The dream of an average independent filmmaker is to have your film seen,” he said.
Afolayan said streaming platforms can help address some of those challenges by providing funding for productions and access to a global audience.
“There is a streaming platform that says, take this money, make film. So don’t worry about money; focus. And then they say, don’t worry, we’re going to put your film on platform where the whole world will see your film.”
Reflecting on the impact of Netflix’s support on his work, the filmmaker said the platform played a significant role in the success of his film Anikulapo.
“Without that, Anikulapo would not have blown up the way it did,” he said, adding, “We need more.”
Afolayan said digital distribution platforms have the potential to transform the film industry, particularly for filmmakers who struggle to monetise their work and reach wider audiences.
The filmmaker, who is the elder brother of Nollywood actor Gabriel Afolayan and the son of legendary Nigerian theatre and film director Adeyemi Afolayan, popularly known as Ade Love, said his productions are made with both Nigerian and international audiences in mind.
“I never will make a film that I feel only Nigerians will want to see. And then once it’s released, then the journey is over.”
“No. I was consciously making films that would stand the test of time. Films that people will want to see in 20, 30, 40 years to come. So up to now, every film that we’ve done are always coming back to shelf.”
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