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Rosemond Brown Apologizes To “Waakye” But His Response Leaves More Questions Than Answers.

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Instagram sensation Rosemond Brown finally apologized to Prince Yawson (Waakye) as she made a shocking U-turn on her earlier allegations which was; naming him as one of the people she slept with in the industry.

Nonconforming “Akuapem Polo” on the “Delay show” some weeks ago confidently posited that she had slept with veteran actors Waakye, Fred Amugi and some other prominent actors in her bid to earn roles in the movie industry.

Social media went avid as usual, but It’s obvious she had realized her mistakes and seeks to right her wrongs.

At a press Conference, Rosemond remorsefully made a U-turn and indicated that she said all that in order to be in the news. Interesting what she can do to trend Huh!

“I want everyone here to help me say sorry to my father here because I made some comments about him on Delay’s show. Everyone who knows me is aware that I’ve been in this industry for nine years, but I was not known so I now say and do anything just for the hype. I’m so sorry that I said all that,” the “Hype-drowned” Rosemond said.

Waakye who was present at the venue when asked how he feels about the whole scuffle responded in a way that made it obvious the two were involved somehow as he was tight lipped.

“Whatever she did, it was not as if she was telling the world I’m a thief, or I’m a murderer or I have forced something out of someone, there is this saying, a drowning man will catch at a straw, she feels this are the people I could use to get to the destination I want to get to, so if now she has realized and have come to apologies, who am I?” He quizzed as he accepted her apology.

Asked if there was any truth in the sex allegations, the veteran responded in a way that made me feel whatever the young lady said was true.

He swings over the question, saying, “I wouldn’t want to go there”.

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Kofi Siriboe To Star In ‘Really Love’ Film From MACRO & Director Angel Kristi Williams

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Kofi Siriboe, star of the OWN series, Queen Sugar, has been tapped as the lead in the film Really Love, which is being helmed by first-time feature director Angel Kristi Williams, who also co-wrote the script with Felicia A. Pride. The story is by Pride and Sanford Grimes. Charles D. King’s MACRO, the production company behind the Oscar-nominated film, Fences, is financing and producing the film. Mel Jones (Dear White People, Burning Sands) is producing the project with King, Kim Roth, and Aaliyah Williams

The plot is set in a gentrifying Washington D.C. and follows a rising black painter (Siriboe) who tries to break into the competitive art world while balancing a whirlwind romance he never expected.

It’s slated to begin filming this summer in Baltimore and Washington, D.C. MACRO’s Poppy Hanks, Latisha Fortune, Sanford Grimes, Stephanie Allain, Kim Coleman, and Pride will serve as exec producers.

Siriboe, who can currently be seen in Season 3 of Queen Sugar, had a recurring stint on MTV’s Awkward and was most recently seen on the big screen in Universal’s blockbuster pic, Girl’s Trip. In addition, through his production platform ViaKofi, Siriboe recently released WTF Is Mental Health, a short film that tackled the issue of mental health in the Black community. He is repped by Innovative Artists, JME Management and Hansen, Jacobson, Teller, Hoberman.

Williams, who was a winner of the Sony Pictures Diversity Fellowship, is repped by Gang, Tyre, Ramer & Brown.

Source: Deadline

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Leila Djansi Shares Her Thoughts On ‘GOLLYWOOD’ As Name For Ghana Movie Industry

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Hollywood–the pinnacle of glam and wealth–the signature of success for anyone in entertainment.

Hollywood in California was once an agricultural village, an independent county/city with Los Angeles as its neighbor.

Filmmakers fleeing from the east coast and Thomas Edison sought a new central filmmaking location; the city of Hollywood was the smart choice. The sun was up long, it’s always sunny in California. The area boasted of varying landscapes, from deserts to mountains and even snow.

Above all, it was close to the Mexican border. If Edison’s men went looking for them for stringent rules and lawsuits, they could easily flee to Mexico and would not be extradited.

The city blossomed into a filmmaking hub and ultimately became known as the center of studio films.

When you say Hollywood, a noun, you refer to the center of powerhouse filmmaking. Same way when you mention the city of Chatsworth and film in the same sentence, everyone assumes you’re referring to the porn film industry.Yes. There is a section in Los Angeles that is considered the porn central of filmmaking.

There are films made outside of Hollywood that are called either independent films, micro budget etc. When you see a studio film, you know. When you see an indie or micro budget film, again, you know.

Bombay had the same set of characteristics as Hollywood. A city dedicated to Hindi language filmmaking. What was intended, as witticism became a serious and accepted name–Bollywood. Metonymy. Hollywood and Bombay, now called Mumbai are cities dedicated to filmmaking. The etymology dates back to 1932. When did Ghana receive independence? 1957? Ok. We’ll come back to that.

There are films made outside of the Bollywood Identity. Each has its style and traits.

Nollywood.

Simply called the Nigerian film industry until Matt Stainglass, in an article to the New York Times, came up with the sobriquet. Nigerians did not name themselves. The only person who can aptly define what he meant by Nollywood is Matt Stainglass himself. What style filmmaking was he referring to since there is no dedicated film hub in Nigeria? Nollywood celebrated Nollywood at 20 few years ago. Nigerians were making films long before Nollywood, which was born on the back of a film called Living in Bondage. A man importing VHS tapes was about to lose money when the importation was taxed high/banned. To sell his tapes, he made a film and put it to all the tapes. Ingenuity. That is how Nollywood was born. He birthed a genre within an existing industry. Filmmakers suddenly saw a quick and affordable way to churn out movies.

The name has been so adulterated; there is no real definition for it. Even Ghana films are called Nollywood. The sobriquet itself is just a form of imperialism.

There is now New Nollywood. To set apart films made with bigger budgets, better technology and a different style of storytelling. There are films like B for Boy by ChikaAnadu that do not wear the tagNollywood or New Nollywood. They prefer to be called Nigerian film to assist in a branding that is not judged sight unseen, based upon the style of filmmaking Nollywood has been known to represent.

Nollywood does not represent an industry, going by its etymology. It rather represents a style, a genre of filmmaking.

What then is Gollywood?

The etymology will be: Richard Boateng and a group of people woke up one morning and decided to name the Ghana film industry Gollywood, with absolutely no idea why they chose that name, and drag all films and filmmakers, kicking and screaming under this hole ridden umbrella. It must have “wood”. Period.

Most of the people carrying the offensive photo are folks who have not made films in years. Those that do are not making the kind of films that fit today. Their transmission has been stuck in opera square mode since the VHS era. They are not abreast with the times or technology. So, if they are branding their style of filmmaking Gollywood, all well and good. Do not drag other films and filmmakers into the fray.

If they really wanted to carry everyone along, this seminar would have been a place to start the debate on what to call the film industry and the style of filmmaking qualifies to live under such brand. All those who have worked under the umbrella of the Ghana film industry and would be affected by its brand would have been asked to vote.

The government is playing politics. Sharing money via ASOG in the name of film residuals. Residuals that filmmakers like me, Leila Djansi who has spent more than 3.5 million Ghana cedis in the past 8 years of making films in Ghana, have not received. Government releases the funds to ASOG and they men over there, products of Opera Square, share it among themselves. But the filmmakers making films that rake in box office and international appeal are left out. Because I do not reside in Ghana, I was not even aware I had residuals due me because it is all done in secrecy.

It is this same money sharing enterprise that birthed all these associations and people who organize one small workshop and quickly run to government for taxpayers money when our hospitals have no beds. Please use that money to import selfless doctors to help save lives in Ghana.

I was almost killed over the foreign Oscar submission board because a cross section of filmmakers thought I had been given some money by the Academy. I was not. I used my own funds and sponsorship from companies owned by my friends to fund the workshop and submission process.

It all boils down to “something small to chop chop”.

When Richard Boateng formed the Film Directors Guild of Ghana, I was in Ghana on a visit. He invited me to the launch. I went. I returned the invitation and he came to my home in the Volta Region. I remember telling him to seek after the interests of film directors – welfare, pension, distribution, and education. It went into one ear and came out through the other. To be fair, most of the working directors failed to show up to the event because ‘who is Richard Boateng to convene this without seeking my consent.” It occurred with the Oscar workshop. Some working filmmakers did not show up. They were feeling too important; it wasn’t their idea to control. Ghanaians are very quick to call peoples humility into question because they themselves are not humble. We are a proud and arrogant people. Which is why we always look out for humble people we can control.

I am of Ghanaian descent; I have made three films in Ghana and about Ghana that currently live on mainstream distribution platforms. I do not want to be called a Gollywood filmmaker! I do not want any of my films to be called Gollywood. Being a black woman with an accent in Hollywood is a challenge. You have to prove yourself and be twice as good to get a quarter of what others have. Do not muddy my waters.

Identity of an industry is not only in its name. It is content. Waakye on wheels is not popular because of its name. It is popular because of its taste. Let us first determine the identity of a Ghanaian film, and then we can talk about nomenclature– if Ghana Film Industry is not good enough.

And to Ghanaian filmmakers crying foul over the name. Unity. Unity, my friends. I recall an actor’s guild called Equity that failed to launch. Another actress, speaking to me said if she weren’t going to be the president of the association, she would stand against its formation. There is the crux of our problems. “It must be me. I must be the center of attention.” We like recognition way too much! We consider Kumasi and opera square filmmakers illiterate but they are way more united and that is why they can organize a seminar and give you a colonial identity, that is why they can share ASOG residuals and leave others out. It’s Book-long aka pride and greed. Bickering, gossip and rip each other apart. Instead of being partners in progress, we are rivals in competition. I am personally so cautious of Ghanaian filmmakers based on numerous bad experiences; I stay away from them entirely. No love, no trust. How is this fixed?

To Madam Catherine Afeku. To adequately support/build the film industry, you need all voices at the table—Leaders of the industry should be not appointed by political appreciation. A thorough representation of all branches and genres of films and filmmakers is needed. Hear from all of us and shape the industry in such a way that will benefit the country. Surrounding yourself with a few greedy people who have only gained and not contributed anything to sustainability of the industry is sad. They know next to nothing about how a film industry should be ran or organized. Look at their tax returns, their books and contributions before you seek advice from them. Look at the type of films they have put out. If that is what you want to identify the Ghanaian life with… by their fruits. Judge them by their fruits.

ABOUT LEILA DJANSI

Leila Afua Djansi is an American and Ghanaian filmmaker who started her film career in the Ghana film industry.

She took a job with Socrates Safo’s Movie Africa Productions where she worked as a Writer/Line Producer. Whilst with the company, she wrote Ghana’s first Gay/Lesbian rights screenplay The Sisterhood, the film that included the late Ghanaian screen actress Suzzy Williams. Djansi worked with the state owned Gama Film Company, where she wrote and produced Legacy of love.

In the United States, she established Turning Point Pictures, an independent production company geared towards social issue films.

Djansi’s first film was awarded a 2009 worldFest Platinum Award for the film Grass Between My Lips, a story of female circumcision and early marriage, set in a northern Ghana village.
In 2010, her debut feature, I Sing of a Well was nominated for 11 African Movie Academy Awards. The film won 3 awards: Best Sound, Best Costume and the Jury Special Award for Over-All Best Film. In 2011, Djansi was presented with the BAFTA/LA Pan African Film Festival Choice Award for the film I Sing of a Well.

Djansi’s 2011 film Sinking Sands received 10 African Movie Academy Award nominations, with Ama K Abebrese winning the Best Actress Award and Djansi earning the Best Original Screenplay Award. At the first Ghana Movie Awards in 2011, Djansi’s Sinking Sands received awards for “Best Art Direction”, “Best Costume”, “Best West African Film” and “Best Picture”. Sinking Sands was nominated in 14 categories.

Djansi 3rd directorial effort Ties That Bind received a Black Reel Awards Nomination in 2012. The film also won the Best Diaspora film at the 2012 San Diego Black Film Festival.

In 2016, Leila Djansi directed Like Cotton Twines an exploration of the practice of Trokosi in her native country of Ghana. The film was nominated for “Best World Fiction Film” at the Los Angeles Film Festival

Djansi’s work and contribution to the Ghana film industry has been recognized by UNiFEM Ghana, The African Women Development Fund, The Ghana Musicians Association and other social issue minded communities.

Source: Livefm Ghana

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Trailer: Terry Pheto Lands Lead Role In New International Movie

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International award-winning South African actor, Terry Pheto, has been announced to star in a new international feature film titled FACES as a lead actor.

FACES will have its exclusive world premiere in South Africa at the 39th Durban International Film Festival (DIFF) on Sunday, 22 July 2018.

“It’s always great to work with incredible actors and talented film makers from all parts of the world. I don’t take it for granted what a privilege it is to grow my global footprint which such amazing story tellers. FACES is a movie that addresses universal issues that will resonate with all,” shares Terry Pheto.

Terry Pheto further adds: “Having the FACES world premiere in my home turf is truly special.”

FACES is a multi-narrative film set across four storylines that follow a group of characters as their lives begin to unravel. The feature film was shot in London and directed by the award-winning British-Nigerian director, Joseph A. Adesunloye.

The movie features other high-profile actors from both music and film such as: Shingai Shoniwa of The Noisettes playing her first major film role, Aki Omoshaybi (The Riot Club, Kids In Love, Star Wars: The Last Jedi), Suzette Llewellyn (EastEnders, Coronation Street, Holby City) and French actor and model Matthieu Charneau (The Bastard Executioner).

Off the back of a highly successful international year winning numerous awards in the UK for her acting, FACES sees Terry Pheto expand her international movie catalogue, and is one of the few projects the world can expect to see her in front of the camera this year, as her latest projects to be announced soon are predominantly behind the camera.

Ahead of the FACES world premiere this weekend, Terry Pheto will join a diverse range of women leaders at the inaugural Marie Claire Power Summit 2018 taking place on Wednesday, 18 July 2018.

Follow Terry Pheto on social media for behind the scenes of the Marie Claire Power Summit 2018 and on her road to the FACES world premiere this Sunday, 22 July 2018. Also keep posted to her accounts for news on a Johannesburg FACES screening this September.

Connect with Terry Pheto:

Facebook: Terry Pheto (https://www.facebook.com/TerryPheto/)

Twitter: @TerryPheto

Instagram: @TerryPheto

Source: Livefm Ghana

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New Kumawood Actress Gifty Shenice Arthur Advises Celebs

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The actress also known as Shenice by her movie peers says although stardom comes with its known challenges, that should not lead anyone to pretend and live a fake life but just be themselves.

Speaking in an interview about her new movie role in ‘Omansan Girls’ which was released last week, she said “there are alot of challenges in the movie industry. Specifically, if you’re close to stardom, people see you differently and look up to you.

“There are certain things you can’t do any more since stardom comes with a different lifestyle but that doesn’t mean you have to pretend.”She added that acting is very profitable because it comes with lots of opportunities and open doors to where you thought you couldn’t go while making you do lots of research which helps to develop an actor or actress’ skills, intelligence and performance in so many ways.

Gifty who has starred in many movies like Sika Diaaa, Sika Nkoooa, My Boo part 1 and 2, Manhyia Hemaa, Who Nose Tomorrow, Move and many more told us that she has played a role of nudity in some of her movies. “As a professional actress, you should be able to play a role of nudity when you are given the role because no one bathes with his or her clothes on, and no one makes love with his or her clothes on as well. So if you’re given the roles mentioned above, what will you do? You need to nail it,” she stated.

On the issue on Kumawood and Ghallywood, she explained that Ghallywood and Kumawood are one people because we’re all actors and actresses. The only difference is that Ghallywood movies are shot in English and Kumawood are shot in our local language ‘Twi”. For me, I’m a versatile actress and can act in both English and Twi.”

She being a young girl, she advised young people in the industry never to give up on every positive thing they intend achieving because no one jumps from step one to 10 and that determination today leads to success tomorrow.

Also known in Kumawood as Shenice, she said Madam Kalsom Sinare and Morgan Gooding are her role models in the movie industry.

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