Natasha Likimani writes movie scripts to the top

This article was first published in the SATURDAY NATION on Saturday, November 1, 2014.

NATASHA LIKIMANI always wanted to be a movie star; she still does. But somewhere in between anchoring and acting, the screenwriter within her was birthed. Her success as a scriptwriter and the triumph of Veve, one of her most notable works, remind us that awfully valuable lesson – that school can’t teach you anything you’re not willing to learn; but when you really want to know something, not even a lack of schooling can hold you back. She speaks to NJERI MUCHAI about her life, work, the current state of film in Kenya, and the little things we can do that will cause major shifts in the industry.

Born Saturday, February 6, 1982 – a birthday she proudly shares with Reggae king, Bob Marley – Natasha makes her life look easy. It’s not. Full of accomplishments that would make many wither with inadequacy, the 32-year-old has written nearly 20 movie, television and radio scripts, and all without ‘formal’ training. She learnt on the job. A self-admitted introvert, Natasha has also penned a children’s book Mrembo and the Ant Queen – published by Oxford University Press, East Africa.

And although her focus in now fully on writing scripts, she has also been a graphic and fashion designer – gifts she has since buried – as well as a chalk artiste and a poet. Both of these she does to calm herself, and deal with whatever issues crop up in life. Natasha is not shabby, but she’s not overly flamboyant either. Comfort chic – glamour that you can walk in – is her preferred fashion style. She however enjoys the occasional piercing, ten of which are in her ears. A polite chin ring and a-once-upon-a-time nose ring, still adorn her face. Tattoos? Why not!

What if writing hadn’t worked out, I want to know. She most likely to have been an actress, an environmentalist or a guerrilla crime fighter taking refuge in Karura Forest, where she’d run back to save the trees. Lucky for us, writing did work out for this pilau and chapati loving, introverted, young artiste.

How did all this start?

I was working as a news anchor at KBC and knew one of the actors at Makutano Junction, Emily Wanja. When she told me they were auditioning, I went, got the part and then in the next season, I applied for a writing job.

No more acting?

Screenwriting takes a lot of energy so I haven't really concentrated on acting.

But if you could, what local shows would you like to be cast in?

Let’s see... I wouldn’t mind doing some comedy but I don’t think I’m funny. The Real Housewives of Kawangware... I think that’s so cool.

What other stuff have you written?

I work mainly in TV because that's where the consistent work and money is. I've worked on Demigods (NTV), Tahidi High (Citizen TV), Kona (Africa Magic) as a writer and assistant script editor. I also have about 6 television movies on Africa Magic Maisha. One is called Clandestine, based on that klande culture, but, I added a twist; what if you’re newly married and your klande won't let you go, no matter what?

Sometimes I just take a step back and think of a way to make it more entertaining than realistic. That's TV. With movies like Veve, I had to be as realistic as possible so that the audience could go: 'that just happened to me the other day.'

How did your family react to Veve?

[Her sister Wacheke, who came along for the interview, laughs] She's laughing because she knows... I didn't take my mom to the Premier because I wondered; will mum be okay watching this type of movie? So we decided, we'd go together again, my sisters Naisola, Waceke and I. But I didn't watch it again because I couldn’t be in the same cinema with mum watching.

When they came out of the cinema, they were all looking down; mum was shaking her head and said "Oi, Tasha!" And my sisters played along. Then they all went: "Psyche!!!”

I think that for the first time [mum] understood the obsession I had for all those years; that it was not just a dream. I'm actually going for it. I loved watching cartoons – Tom and Jerry, Pink Panther – and I used to emulate them. The fact that I still do those things now, and that I wrote something she actually liked; that for me was like a full-circle moment.

Natasha (left) with sisters Naisola and Waceke and Veve actor Emo Rugene

Did you favour any characters in Veve?

I loved them all, but I really liked Sammy (Conrad Makeni) and his son Kago (David Wambugu), there was something there that I really liked. But I liked also, the politician (Lowry Odhiambo) because that’s how our politicians are.

How about the actors themselves? Who was most on-point?

Savara Mudigi (Julius), now that’s a character who when I wrote him, he was meant to be just nasty.

And Savara brought it?

He was so nasty. It would be nice to see him stretch his acting muscles because, he has something.

How long before it’s on DVD?

Two years... otherwise we’ll be buying it for 50bob. I think it needs to win its accolades around the world and then be on DVD, TV and Cable.

Do you get a cut every time it shows?

No. In such a scenario when someone options a script, what they pay, is what they pay you. You can choose to say ‘I get a cut’, but I wasn’t well known enough yet make such a deal.

You are now.

Yes. That’s why I did it. Veve has launched me internationally, so I didn’t even care whether this one made a million dollars and I didn’t get a cut; I wasn’t doing it for the money.

Were you present when Veve was being shot?

Not this time. There is that option, but I don’t want to harm the process. I didn’t even watch Veve until the premier.

Would you want to direct at all?

It’s not my thing, but, I’m starting to think that I should. I wouldn’t mind, but I like the quietness of writing... and acting, you do your thing and you can go back to your room. And the people that I admire, Tina Fey and Shonda Rhimes, they don’t direct so, I’m okay.

What do you do when you’re not writing?

I guess I'm catching up with life. I don't have a very good social life and have to be dragged out of the house to go see people, but yeah, I try to be social... watch movies.

I wish I could say I go bungee jumping but...

So you’re an introvert?

Very much so; but I’ve had to work on being around people. I have friends who drag me along and tell me “It's okay to be yourself”. I'll be that person in the corner... I've got psycho qualities.

Does it help you write, being an introvert?

It gives you time to absorb your environment. For us, it's about paying attention to details, human behaviour, so that when you write a character it's based on somebody.

Do you do all your writing in a team?

For television, I work in a team of four or five people, but the Africa Magic Maisha movies I worked on alone.

What are you working on right now?

I've pitched some stuff I can't talk about. That's the thing about this industry. If you don't have a commissioned TV show, you’re always re-applying for jobs. Sometimes there's a huge gap of no work and then there's a lot of work; you take it all when it comes.

And the pay?

Sometimes, you wait three months before you get paid for a job you’ve already finished. There are, however, some professionals who, as soon as you've written and they've approved your work, they pay you. But you have to be very wise. When the jobs come, you save.

Anything you do on the side to supplement your income?

What else would I be doing? When the jobs come, pay is good enough for you to plan for 6 months. But there'll always be work. Nowadays. A few years ago it was terrible; you couldn't survive off of this industry at all. 2011 was a terrible year.

Screenplay geniuses you like?

Growing up it was Steven Spielberg and Quentin Tarantino; he’s crazy but he’s a genius. [Tarantino] wrote Pulp fiction in like two weeks! Those are the people that I looked up to. Recently, say, the past five years, the partnering team of Robert Orci and Alex Kurtzman (Amazing Spiderman, Sleepy Hollow) are the ones I look up to now. But it’s a pity that I have to look that far

How about locally?

Maybe my peers; I’ve always worked with is Damaris Irungu (Jastorina), we’ve written so many projects together. Producer Abby Matere too; I’ve worked with her for over three years. She’s consistent and not corrupt. Wanjiru Kairu; she’s a writer and director. Zippy Nyaruri (Zebu and the photo fish) is another, whose award winning film did so well around the world. I don’t think people realize how successful that short film was. She moved to... Amsterdam?

Why aren’t local channels airing their films? Are they expensive to buy?

No. They have their own view of what the audience wants. But if I’m to be honest, one station decided they were going to be totally local and built their niche. The rest saw how successful they were and followed suit. They were being followers not leaders. And now, Africa Magic and Mnet are building their own niche in terms of the type of movies and series they are showing. So if [local media houses] wanted to find local content and put a call out, they would get a lot of quality short of films and series. Okay maybe not film; that is expensive.

So what should we do?

How it works in Hollywood is, each season has a particular type of show running. Summer, for example, when not many people are indoors, they have very bright and simple stories. They can go a bit deeper with the other seasons.

We need to have that kind of regulation and the understanding that not every Kenyan wants to watch a slapstick comedy. And if you’re going to do drama, it doesn’t have to be family drama. Also, here we run TV shows every week! It would be nice to break it up so that one show runs for a maximum of six months and another for the remainder of the year. That way you have a consistency of different shows. We have shows here that have run for 6 years. There has to be some sort of moderation so that the audience doesn’t get bored.

How do you feel about Spanish soaps?

I grew up loving them; Esmeralda, The Rich Also Cry, No One but you; KBC started with the Spanish soap trend. I think they’re great, but the thing is, they would never buy any of our content to air in their country. Never!

There’s nothing wrong with Spanish and Filipino content, but, we can have the same type of story in a Kenyan context. The stories are basically the same.

So why don’t we do it?

It’s a money thing. It’s cheaper to buy 500 episodes at $5 (Sh450) an episode, have a consistent programme airing that people will like and get ratings. That, or they can spend Sh500,000 per episode for a local soap.

Really? That much for locals?

No, it depends. Some cost Sh250,000 or Sh350,000 and if they’re feeling generous Sh400,000 per episode. But the lowest people can go is Sh200,000.

How do you feel about the adaptation of local books into film?

Some people are doing that right now, but, it’s expensive; especially if it’s a book by a well known author. You need to get the rights which you get for a year or two. If in that time you haven’t done as you said you would, you have to repay or rights are given to someone else. That’s the complication; probably why I haven’t even tried. And yet [adaptations] are the best because already, there’s a following, a great story, and tone...

Do you think we need to make more action movies and series?

Definitely.

Would it be too expensive?

There’s something called guerrilla filmmaking which you can employ in low budget pictures. The Blair Witch Project, which popularized found footage type movies, cost about $12,000 (Sh100,000). We really need to know how to use guerrilla filmmaking techniques where all you have is a HD camera, but know how to shoot. 

Someone who does that successfully is Robert Rodriguez (Desperado, Machette, El Mariachi, Sin City); you’ll see him with just a small camera. He shoots, edits – he’s a genius like that, and you wouldn’t know that he didn’t have a massive crew.

What do you think the government can do to help?

I don’t think [government] understands the industry; its potential, the impact and revenue that can be made. The film fund – I don’t even know where it went. But I hear they’ve helped people.

The best thing they can do is liaise with countries like China and South Africa which put funds out there; not loans like they give here. The King’s Speech, for example, was made from the UK film council lottery. We need to adopt such practices because they launch us internationally.

South Korea – I watch a lot of their movies – has brilliant artists. They get grants and their movies end up being adapted to Hollywood, so they get even more revenue. And you’ll never see India crossing over to Hollywood because 20^th Century Fox and Fox Star Studios have opened studios there and are guaranteed a billion viewers.

But [Kenya] is still very confused. [The Kenya Film Commission] is not asking the right questions and isn’t getting the right kind of help. Kalasha, for example, is a mixture of the Oscars, Emmys, The Golden Globes... just all over the place.

What’s your favourite Kenyan movie so far?

Veve![chuckles]

...that is not Veve...

I love Nairobi Half Life. I think that’s the one that started it all and made me believe that we can really do it. And Kenyans didn’t make a big deal about the two guys kissing, which is good.

Have any favourite Kenyan directors?

Directors are hard... Wanjiru Kairu; but she doesn’t do it as much as I’d like her to. Another is Omfwoko ‘Fwoks’ Aswani (34), who died recently. He was really good.

Favourite local TV series?

Kona! Okay, one that I haven’t written? I like the Real Housewives of Kawangware. What Hapa Kule News is doing is pretty fantastic.

Best actor in Kenya in your opinion?

Conrad Makeni is pretty fantastic. Mkamzee Mwatwela and Carol Midimo too; she does a lot of drama but is also very good at comedy; very funny.

Who do you want to work with internationally?

Steven Spielberg; I’ve wanted to work with him since I watched Jurassic Park. Ben Affleck too, because he’s just brilliant.

Hollywood is obviously in your sights. What would you do if today, you got the chance to work there?

When you get such an opportunity, you have to be aware that there’s a lot that needs to be built back home. I wouldn’t go [to Hollywood] and get lost. I’d go there, make it, and fund a lot of the productions that need to be done here.

Religious, are you?

I am a born again Christian but I don't like the word religious. I really focus on the Bible, reading it and fellowshipping with people; I don't go to church that often. I know I'm going to get smashed for that one [laughs]. Of course I've made mistakes but, it's about going back to God all the time.

Do you still want to go to school?

I gave up on that dream once I found out how much they wanted, I was like “oh! No, I’m not yet that rich.”

And yet you are a professional scriptwriter.

Yeah.

Would you consider passing on the knowledge?

I do. I’m going to be a trainer at the Maisha Film lab in November. I did tell people about it on my Facebook page and WordPress, where I usually post industry updates.

cnjeri@ke.nationmedia.com

@njerish