A recent controversy involving Nollywood actress and filmmaker Omoni Oboli has sparked discussions on originality and intellectual property within the Nigerian film industry.
Oboli took to Instagram to apologise and clarify the circumstances surrounding her latest YouTube film, which was removed from her channel following accusations of striking similarities to another YouTube movie titled, Hope Given.
In her public statement, Oboli expressed regret over the incident and emphasised her commitment to originality.
She explained that the issue stemmed from a script she had purchased from a screenwriter, which was later revealed to have already been sold to another producer in 2022.
This breach of trust has raised questions about the ethical and legal challenges faced by producers, YouTube content creators, and screenwriters in Nollywood.
Oboli’s Instagram post read:
“We know you’re probably wondering why the latest movie isn’t available anymore on the channel. We’ve received feedback that it bears a striking resemblance to another film on YouTube. As a channel committed to originality, we’ve decided to remove the movie while we investigate the situation. We’ve engaged the scriptwriter to understand exactly what happened and are working closely with our legal team to resolve this. Thank you for your understanding and continued support. Always remember that I love you,” she said.
Her decision to take down the film was lauded by many as an act of integrity and professionalism.
In response to Oboli’s statement, Susan Jimah, the producer of Hope Given and owner of Susan Jimah TV, confirmed in Oboli’s comment section that the script in question had been purchased from screenwriter Jayne Nwachukwu in 2022 for 70,000 naira.
“Gooday Ma’am @omonioboli, The said script was sold to @Susanjimah in 2022 by @jayne_Nwanchukwu. And has long been aired on Susan Jimah TV for over a year now with the title HOPE GIVEN. It has also come to our notice that the same script has been given to another YouTube channel again with a totally different title who just uploaded theirs yesterday. Jayne Nwachukwu hasn’t been reachable since yesterday. We applaud you for standing in the line of integrity,” he said.
This revelation highlights a troubling trend of scriptwriters reselling scripts despite having signed contracts that explicitly forbid such practices.
Impact on producers and YouTube content creators
For producers and YouTube channel owners, incidents like this underscore the importance of thorough due diligence when sourcing scripts.
Contracts must be ironclad, detailing the terms of exclusivity and the penalties for breach of contract. However, legal agreements alone are not enough. Producers need to implement measures such as:
Background Checks: Conduct thorough investigations into screenwriters’ track record and reputation.
Verification of Originality: Consult industry professionals to ensure the originality of scripts.
Legal Recourse: Maintain access to legal teams who can swiftly address contract breaches.
The financial implications of such disputes can be significant, especially for YouTube creators reliant on their content’s originality to maintain audience trust and attract sponsors.
Lessons for screenwriters
For screenwriters, this incident serves as a cautionary tale about the long-term consequences of breaching contracts.
While the script was reportedly sold for a modest sum of 70,000 naira, the repercussions for the writer, Jayne Nwachukwu, could be severe, including:
Loss of Credibility: Such actions can tarnish a screenwriter’s reputation, making it difficult to secure future work.
Legal Penalties: Contract violations can result in lawsuits and financial damages, potentially outweighing any short-term gains.
Career Stagnation: The Nigerian film industry is tightly knit, and negative publicity can limit opportunities.
Developing original scripts and maintaining professionalism are critical to building sustainable careers.
A call for industry standards
This incident indicates that there’s a need for stricter industry standards to protect both producers and writers. Stakeholders in Nollywood must advocate for:
Centralised Databases: Establishing platforms where scripts and ownership histories can be registered and verified.
Education and Advocacy: Raising awareness about intellectual property rights and the consequences of breaching contracts.
Support Systems: Creating support networks for writers to understand the business side of filmmaking.
Conclusion
While her swift response and commitment to integrity are commendable, the incident serves as a wake-up call for all industry players. By fostering transparency, accountability, and professionalism, Nollywood can continue to grow as a global powerhouse in filmmaking.
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