Zubairu Abdurrahman Kassim, popularly known as Malam Zak, is a veteran scriptwriter and script supervisor with over two decades experience in the Kannywood industry. In an exclusive interview with IBRAHIM HAMISU in Kano, he speaks on his career and the film industry among others.
What’s your background and did it influence you joining Kannywood
I was born 42 years ago at Galadanchi Quarters, in Kano Municipal Malam Abdurrahman Mai Gwanjo’s residence. My father is at Lokon ‘Yan Muslim Brothers also known as Lokon Su Malam Nura Adam Galadanchi.
I was brought up by my grandmother, Hajiya Hauwa Habeeb (Tafada), may Allah forgive her soul. She was the one that took me to the Islamiyya school of Malam Sani Mai Ahbabul Musdafa, Sharadar Malam.
I was attending my Islamic schools when she also registered me at Gwale Special Primary School in 1987.
After completing primary school, I proceeded to Junior Secondary School in Warure, Datti Ahmad Government Secondary School.
I subsequently proceeded to Government Commercial College Wudil after completing junior secondary school. I completed secondary school in 1999 and delved into life struggles, but I did not stop seeking Islamic knowledge till I memorised the whole Qur’an under the kind teaching of the Late Mallam Auwalu Salihu. May Allah forgive his soul, Amin.
He taught me some Islamic books before his death. After his death, I went to Malam Sa’idu (Dudu) and continued learning. From there I went to Malam Abdullahi Haruna Albasu, all in search of Islamic knowledge.
While learning Islamic knowledge, I enrolled in journalism education at Agency For Mass Education from 2000 to 2001. Later on, I proceeded to Aminu Kano College of Islamic and Legal Studies where I got a diploma certificate in Hausa/English Education from 2003 to 2006.
I later went back to the college to obtain an Advance Diploma in English and I am currently running my degree in B.A (ED) Hausa at Bayero University Kano.
I’m a teacher under Kano State Universal Basic Education Board (SUBEB). I have a wife and four children.
So, how did you join Kannywood?
After I completed my secondary school education, I began to toil for a living. It was through my grandmother’s moral training that I got to learn the importance of learning how to support myself by legitimate means and become self-reliant. This is because my father died when I was small.
In 2000, I was employed by Sani Uba Rasha to be his film shop’s attendant, which is Sharada Film Production. That was how I began to acquaint some film producers.
I quickly began to get the idea of becoming a film director. That was why I began to nag Ibrahim B. Lawan with questions on how to become a film director. He was the one that taught me about some shots like ELS, LS, MLS, MS, MCU, CU and ECU).
One day, they were to start shooting a film titled: Ta’adin Karfi and Ibrahim B. Lawan suggested that I take the role of the script supervisor. That’s someone that will do the continuity job of a film. That was another beginning of a knowledge search for me about film continuity.
I hastened to Bala Anas Babinlata and he introduced me to Nasiru Mahfuz. I began to go to Nasiru Mahfuz to learn a continuity job and there I met another film titled Jalabi which was directed by Tijjani Ibrahim. I was given the continuity job of the film.
After that, I got a job as a reporter at Mujallar Duniyar Film (a film magazine) under Abdulkarim Muhammad’s company, Moving Images LTD. I got the job because of the journalism course I did at Agency for Mass Education. It was at the Moving Images Company I got acquainted with Nasiru B. Muhammad who teaches me a lot of things about film production. That’s how I got access to Kannywood.
The film industry is very vast, what is the field of your specialisation?
I specialise in script, continuity, and directing.
What film did you first write?
The first film I wrote was Risini, and I was the director. People now refer to Ali Risini director as as the director because he was the producer of the film.
What about continuity?
It was in the film Ta’adin Karfi.
How many films have you written or directed so far?
My God! I can’t say the total number of films I have written. I can only remember some films like Tuzuru, Ciwon Sata, Sana’A Goma, Mijin Ta Ce, B B Matsala, Bariki, Sani Makaho, Idi Aanzami, ‘Yan NEPA, Soyayya, Ado Na Mamajo, Motar Alfa, Sabon Wanka, Haraji, A Dade Ana Yi, Kasuwar Kauye, Gidan Wanka, Gidan Magajiya, Ajo, Garin Bosho, Bakin Makoci, ‘Yan Gambara, Ci Da Addini, among others.
There is also a radio drama programme that we jointly wrote about leadership. It belongs to Moving Image LTD.
For film directing, only two films carry my name as the director. They are Hankoro and Risina. All the remaining were Assistant Directors.
What would is the highpoint of your career in the industry
Alhamdulillah, I have a lot of success stories. I got acquainted with many people that helped me, not only in the film’s affairs but even in our everyday life. We also get a living out of the film industry.
What about challenges, do you have any?
I do not face any challenges in the film industry. My parents and relatives always bless me. My mother, Hajiya Halima Nuhu, may Allah bless her with good health and prosperous long life, always bless me and pray to God for my protection. This is the sole reason why I’m not afraid of anything in this world. My mother’s prayer protects me always.
Who is your role model in the film industry?
My first role model is the late Tijjani Ibrahim, then Malam Abdulkarim Muhammad, and the person I consider my mentor and teacher in Kannywood is Nasiru B. Muhammad. This is because it was after I met him that I got to know what a screenplay was.
He also taught me to write radio dramas, documentaries, and others.
Can you remember a film that became difficult for you to accomplish writing it?
It was BB Matsala because at the time I wrote it I didn’t know how to do BlackBerry chat.
What makes you angry in the Kannywood industry?
When it comes to the issue of searching for film knowledge, many people will be hesitating, but if it’s about weddings and other celebrations they will be at the forefront.
What do you hate most?
I hate humiliation and harassment.
Where do you see Kannywood in the next 10 years?
I am optimistic that the industry will be great. This is because we are on the verge of positive change. My colleagues in the industry have started seeking knowledge. We ask for what we don’t know.
What is your take on the Hausa film series?
Anybody that knew Kannywood in the yesteryears would know that if one makes a film and it succeeds, everybody will take that pattern and just give it some little changes and a new film rolls out. That is how it happens in the nowadays film series. We are not thinking that in the future we can make films that we will take to Netflix, Amazon, and other platforms.
We should expand our imaginations and level of thinking in our film production. I think we should just change. If we must produce the series, we should try to improve the storylines. That is to give the script writer enough chance and time to make all the possible research, not to rush him. Also during the film shooting, it should be done appropriately. No rushing; everything should be done the way it is supposed to be.
Is there anything that is practiced in Kannywood that you think should be stopped?
Members of the industry should stop disliking anybody who brings anything that requires knowledge.
We should also stop sabotaging and tarnishing each other’s good image. Kannywood is a big market and everyone will get their share.
What is your goal in Kannywood?
My goal is just to live and retire from the industry peacefully. This is because whatever has a beginning must have an end.
What is your advice to your colleagues regarding producing high-quality films?
Writers should always get the chance and privilege to create stories. A chance to research should always be given to us also.
Secondly, we should search for knowledge; that is work hard to acquire all the knowledge related to film production.
We can see how our southern counterparts are coming to make films in Hausa and are getting huge amount of money and leaving us with empty pockets. We should wake up and start looking for knowledge. There is no way to give out something that you have.
