Meet Martini Akande, the film editor shaping up Nollywood, one feature at a time

Martini Olakunle Akande is a Nigerian film editor, producer and post-production manager. As the editor and post-production supervisor on several critically-acclaimed films, and with over nine years of experience in editing and post-production management, Akande brings a unique perspective to every project. From setting up post-production teams to post-production workflows, his skill set is an integral part of the filmmaking process.

 

In this exclusive interview with Emmanuel Daraloye, Akande discusses his career trajectory, the importance of good editing in feature films and shorts, working with preferred filmmakers, and his favourite projects. 

Excerpts:

• What was that film that sparked something in you to become an editor?

 

Several films from childhood and adulthood inspired me, but I will say my favourite films from an editing perspective are The English Patient (edited by Walter Murch), Top Gun: Maverick (edited by Eddie Hamilton), and Baby Driver.

• In film-related conversations, we hear that “the editor is a film’s first audience.” What does this mean to you? How does the input of an editor make a difference in the final output, and ultimately, the perception of a film when it hits cinemas or screens?

 

I believe the editor is a film’s first audience because the editor is the first person to engage with the raw footage. I like to see the raw footage as a bunch of rough ideas. An editor’s job is to interpret and refine these rough ideas to evoke the intended emotions from the audience, from making decisions on shot selection to sorting out transitions, when to cut and when not to, shaping an actor’s performance, the timing of reaction shots, etc. There are several tools employed by an editor to create a watchable and enjoyable piece for the audience. 

• How has the city of Ibadan contributed to your journey as a storyteller, as well as your overall craft?

 

Besides the calm nature of Ibadan which allows for introspection and inspiration, Ibadan gave me a community of young filmmakers who were as hungry as I was to make films. We collaborated a lot and we still do.

• As a man of many talents in revolutionary filmmaking, can you highlight some of the works you’ve contributed to?

 

I have edited twelve Nollywood feature films, including Christmas in Lagos (2024), Gangs of Lagos (2023), Brotherhood (2022), and Glamour Girls (2022). I was nominated in the Best Picture Editor category at the ninth edition of Africa Magic Viewers’ Choice Awards (AMVCA) for my work in Brotherhood.

• What’s the favourite Nollywood feature project you have worked on?

 

This is a difficult question, as I love the projects I have worked on for different things. In Ibadan was the first feature film I edited, a love letter to the city that formed me. Brotherhood was my opportunity to flex my editing muscles in action editing. Gangs of Lagos had a very serious theme that resonated with me, and Christmas in Lagos took me back to where I started my editing journey; I came into editing because I loved the romance of music and picture.

• With Brotherhood, Gangs of Lagos and Christmas In Lagos, it’s three projects and counting with Jade Osiberu. What is it with her films that you find most alluring, and how have you been able to establish synergy over nearly half a decade, where you trust each other’s creative choices?

 

I like that you used the word “trust” because that is what it’s all about. It’s easy to trust someone when they have proved that they know what they are doing.

I don’t think it’s just the films I find alluring, I am drawn to the director too. Jade (Osiberu) is a student of film, she understands storytelling across board, from cinematography to production design and editing. A director who can articulate their vision is the best thing an editor can get, and Jade is one of those. 

• With the visual effects, quick transitions and high-octane action, Brotherhood must have been a tricky one to edit. What was the process like? What were the key changes that made the difference? How did you and the rest of the crew agree on what to take out and what to leave in?

 

At the time and up till now, Brotherhood was (and still is) the biggest action film made in Nollywood, so that already came with some pressure. The editing process was pretty much like every other film, but the difference was that this is an action, edge-of-your-seat kind of thing. I had to borrow elements from every high-octane film I had seen and loved. I had frequently fantasised about editing a feature-length action piece, so when Brotherhood came it was me digging into my arsenal, from shot selection, pacing, and the quick cuts made to heighten tension. Whatever didn’t move the plot forward was left on the cutting floor, anything that would prevent us from holding the audience’s attention for two hours had to go. We call it ‘killing your darlings”, a necessary evil.

 

• We have seen collaborations between certain actors and directors across multiple films, like (Tim) Burton and (Johnny) Depp, (Martin) Scorsese and (Leonardo) DiCaprio), then Quentin (Tarantino) and Samuel (L. Jackson). However, we don’t see the relationship between directors and editors as heralded; Lee Smith has worked as an editor on (Christopher) Nolan’s projects. Do you think that’s a thing that can ever blossom in Nollywood?

 

I think we already have those editor-director relationships in Nollywood. Finding an editor who easily understands your vision and can interpret it can be hard to find, so most directors stick to that person once they’ve found them. Most of the directors I currently work with are the ones I have been working with for about 6 years now. 

• What is that Nollywood feature or short that was so crisp, you wish you were the one who edited that?

Breath of Life, edited by my friend Holmes Awa. 

 

The Black Book comes close.

 

• There was a time when the main thing audiences cared about was the melodramatic effect of the story. Now we have people paying attention to costume design, sound, editing, continuity and other technical bits. Does this pose as a call for Nollywood filmmakers to step up to the plate, and how well have they responded to this warcry so far, considering the reception and feedback for films in the past couple of years?

 

I think the fact that our films are now on the same platforms as Hollywood blockbusters is a good thing overall. You can be watching Extraction on Netflix and the next minute you’re watching a Nollywood action film on the same platform. Of course, we shouldn’t expect the same technical accomplishments from Hollywood’s multi-million dollar projects from Nollywood films, but we can have them as something to aspire to. 

• When it comes to collaborating with (Nollywood) filmmakers on feature projects, what are the key factors that influence your decision to (not) work on a film?

 

There are a few factors to consider, but the most important one to me is how committed they are to the story they are trying to tell. Is this a story that the director or producer is passionate about, or are they just a director/producer for hire and they don’t care? This is a question I have to answer first. It is very integral to how the editing journey will unfold.

 

I also ask myself, what will this film challenge me to do? Is the story taking me into a new world, space or idea? I also need to like the story or at least be inspired by it, because this will definitely translate into how I treat the material. 

• Is there a significant difference between editing a romcom and putting the fine touches on a crime thriller? What signals a difference (if any) in approach?

 

I like to think of editing at the basic level as storytelling regardless of genre, the techniques employed only differ depending on the genre or story. 

 

Editing a romcom is about creating a feel-good experience, while editing a crime thriller is about gripping the audience and keeping them on edge. In a romcom, timing is crucial, moments need to feel authentic, from awkward silences to well-timed reaction shots that amplify humour, and gentle transitions that convey emotional intimacy to the audience. The approach in a crime thriller is more intense. Editing in the context of a crime thriller emphasises suspense, tension, and unease. Quick cuts, lingering shots, and jarring transitions can be used to keep the audience on edge or to convey danger and uncertainty.

 

Ultimately, the editor’s role is to craft an experience that fulfils the genre and story’s promise to its audience.

• What are the basic qualities that aspiring film editors need to look out for? Are there resources, specific films, or tools you feel they should look out for and take to heart?

 

The answer I always give is to first be a storyteller. Knowing how to use the editing software is the easiest part of the job, but storytelling is what makes you an editor. 

Be curious about what makes people move and why it does. 

 

There are hundreds of editing resources out there, but the one that has really helped me is In the Blink of an Eye by Walter Murch, this is like my editing bible.

YouTube channels like Film Editing Pro, Every Frame A Painting and Studio Binder have been really helpful, too. 

Also, watch a lot of films, especially the ones that have been praised for good editing, and dissect why they got the praise. Watching these films helps you build what I call “an internal shit detector”, you know what a scene should look and feel like even if you don’t know how you will get there in the moment. Sometimes editing is figuring the scene out as you go, but knowing the end from the beginning is a good way to start. 

Akande’s most recent editing work can be found in the Nollywood romcom Christmas In Lagos, currently streaming on Amazon Prime Video.