“That was a lesson I learned, because the more takes we took the more she got into character. “I should have done a cut out of her doing that but I felt it wouldn’t have been as spontaneous,” Okwo told me. And they would have seen it had it not been for cameras that were focused higher and did not move with the actor. Power is a game that informed Nigerians play at the right time, with the right person, and this is Abuja, the country’s capital, where everyone knows who is who, especially people like Clara whose power are fickle in principle but terrifying in practice.ĭominic cleaning the floor with her hair was a minor detail but the kind of deep delve into character that viewers were not accustomed to seeing onscreen in Nollywood. Yet when the oba enters, she falls on her knees in delight, an act of complete subservience, and the people in the reception gape at her in shock. To the roomful of Nigerians complaining and waiting on her whims, she is the tin deity that must be placated. By deciding who gets to see The Minister and who doesn’t, all based on her mood swings, she is a power broker. In the sequence that missed making it into the film, Dominic is not just kneeling but hunching even lower, wiping the floor with not only her hands but her hair.Ĭlara Ikemba is no ordinary receptionist. She is kneeling on the floor, almost praising him with her hands. In the final cut, the female lead character Clara Ikemba, played by Rita Dominic, is greeting an oba, a Yoruba traditional ruler, who has just arrived at the office of The Honourable Minister, where she is the receptionist. She and her team had shot a key scene over and over, but in the editing, she found that they’d missed a detail. During the final days of post-production for The Meeting, the 2012 comedy that helped set a new quality standard in Nollywood, the director Mildred Okwo had a problem.
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