One can say that you have been through it all: photography, musician, produced music videos and now television. Can one say this is where your heart lies?
Maybe. For me, I wouldn’t say I know, but I enjoy doing it. In the same way, I enjoy doing TV commercials, music videos, documentaries and these other kinds of formats. I can say my heart lies in production, and the whole film industry, and it also depends on what I am doing at that particular moment. And if not shooting, I would be training or teaching.
And when I’m training or teaching, I’m so passionate because I love it.
Enos Olik talks about his transition from producing music videos to the world of film and television
In 2021, Famous, the first show that you created and directed premiered on Showmax. How was the transition?
When I was doing Famous, I had just come from shooting some of the biggest movies in Kenya. Supa Modo, 40 Sticks, Uradi. It wasn’t a very steep transition. I was handling everything in terms of production; from the front end to the back end. There were a lot of challenges that we learned there, but I wasn’t that green because I had done a couple of short productions here and there. I always say I enjoyed doing it because it had a lot of music. It was so much fun. For me, it was like a whole day watching Got Talent or TPF. I learnt a lot from it.
Where are Nyota, Magic and Nikita now?
We cast actor and former Mr World Kenya Khula Budi as the troubled rapper and producer Magic, with newcomers Brianna Wanjiku as Nyota and Michelle Tiren as Nikita through my production company, EOP Films. What I can say is that they are doing well. The lead, Tiren is starring in a Netflix movie from South Africa. A lot of the other stars are also doing well and went on to star in several local productions. Ibrahim came from Famous and is the lead at Shanga. He also did Pepeta. For most of the cast, the first thing that they will show when asked what they did is Famous.
Is there any interference from the channel when casting?
Not that much. You give them options and remember that they also have a lot of experience with content. You also want to eat into that experience. I might have an idea but they will tell you “this will work better”. What I do is tell them what I’m thinking and most of the time, if they see something good, they will tell you “This can work”.
You recently revealed that Sauti Sol’s video Nishike, which you directed and produced, influences what you are doing right now. Yet you have worked with many other musicians across the board.
You always remember something that started something. If I was asked for an influence, I would always say drama club in high school. But you can't relate to that. Why Sauti Sol, is because we went to the same high school with them. We used to sing in the same choir in Upper Hill. They finished a year ahead of me. And then they started doing well in the industry. Our band used to practice with them, would share guitars, and some writing, we moved like a family. Later, our group broke up, and I would always hang out with them. In the middle of that, I started shooting. They would be the first people who would encourage me.
The reason I talk about Nishike is because at that particular time it’s one of the videos that got a lot of airtime internationally. That is when I could talk to artists in Tanzania and Nigeria and started connecting with people who are in the same industry. I started travelling internationally. It also brought a lot of attention to the other work that I had done. It was bold and fresh, and it got people talking. It really put my name out there and showed the industry that I had something unique to offer.
You have a new show, Jiji. What is it about and why take it to the heart of Nairobi’s neighbourhood of Jericho?
When we got the brief, it resonated with me because Eastlands is the place where I started life. When we sat down with our writer Dominion, we tried to figure out this thing that is happening and where is it happening exactly. We threw out a few ideas. Is it happening in South B, Lang’ata or Kangemi? So it is based on how we wrote the script and it pointed towards Jericho, but not only Jericho but Eastlands. The tapestry of it is that it has a beautiful backdrop. From the stories we hear from it, if it isn’t sports, it is crime. And it kind of felt easier.
Enos Olik is a film and music producer.
Do you think this kind of show that centres on crime from low-income areas is what Kenyans want?
The fact that people are still doing it is clear that guys still love them. We will never run out of ideas; there is always a way to approach your story. Sometimes, you approach a story based on what is happening from where you are. You might be from a well-to-do family or a poor background, everybody aspires to be something good and also dreams for a better future. That is why you get a lot of such shows. It is also a higher risk when you go for the other story. You spend a lot of money or see what has been done and then give it your twist. I think people are also comfortable with those stories and we will never exhaust them. We just need to figure out different creative ways of getting your twist in them.
Has there been an ease in production in the country right now compared to five years ago?
If you ask people in the industry, they would say it is like night and day. I would say it is a little bit better. Time is a good thing; the more time goes by, the more we advance. It is easier to get your licences from the relevant authorities. It is not where we would like it to be, but it is getting better.
