Whenever there is a change in government, the moment you tune in to hear news about the film industry, all you hear is filmmakers begging for money. This persistent plea has turned the industry into a government liability rather than an economic asset.
I’ve said this before, and I’ll say it again: If the Ghanaian government ever allocates funding to filmmakers before establishing proper industry structures, I will personally gather the struggling mothers from the Mothers’ Lodge at Korle Bu and lead a protest.
These women are fighting for their children’s lives with little to no financial support. The few interventions they receive come from private citizens and already overburdened hospital departments. Some of them don’t even have enough to eat—they have resorted to planting gardens around the lodge just to survive.
Our children should be our priority, not industries that prioritize wigs and makeup. Every mother at Korle Bu should be guaranteed three meals a day. Nurses across the country should receive free meals during shifts so they don’t have to spend their meager salaries on transportation and food—only to take out their frustration on innocent patients.
Ghanaian filmmakers want government funding? For what? What film has generated significant revenue for the country?
- Do filmmakers pay SSNIT for their cast and crew?
- Do they insure their equipment?
- Have they paid the audiovisual permit fees required by local assemblies?
- Can they provide receipts of taxes paid to the state? And no, Silverbird Cinema’s taxes don’t count—foreign films likely generate more tax revenue than local ones (I stand to be corrected, but I’d bet on it).
- How many truly Ghanaian stories have been told? Our screens are filled with remakes of Scandal, Indian soap operas, and American TV shows. We glorify mediocrity by paying homage to other people’s greatness instead of creating our own.
Our film industry has guilds, but they are practically obsolete. The Actors Guild is tied up in court battles over leadership disputes—fighting over control of royalties and potential government funds. It is always about the little coins that will enter someone’s pocket. But why are private accounting firms not managing industry funds and properly disbursing residuals and repayments? This lack of structure is precisely why equity investors avoid Ghana’s film industry.
Everything is haphazard, and if you try to address these issues or push for proper structures, you’re labeled a “know-it-all.” It is frustrating to see my people sitting on the banks of a river yet washing their hands with saliva.
Back when Opera Square was thriving, the industry had structure. That group could make or break a film. They determined how and when films were released, regulating the industry through discipline, unity, and control. They managed the street DVD sellers, which meant they controlled filmmakers’ revenue. They were not forward thinking, but they managed the industry.
Now, compare that to Hollywood. I know people who beg for jobs just to accumulate enough hours to join IATSE, one of the most powerful guilds after the Writers Guild. If they put down their equipment, productions grind to a halt. When Hollywood guilds went on strike, people starved, TV shows got canceled, and movie releases were postponed. Did I say people starved? I was in Paris during the environmental strike when trash piled up everywhere because the union representing garbage collectors was on strike. But Guilds and unions in Ghana want to be government beneficiaries and taking small change. Not control policy. Come on.
Imagine if the Ghana Actors Guild—or any guild—were properly structured. If no one could hire a guild member without going through the guild, imagine the power that would create. Here is the truth; Ghanaians are experts at sidestepping laws. No state law will punish someone for ignoring a guild’s rules unless a crime is committed, and that is a why government mandate won’t fix the industry. It has the potential to function independently and powerfully, but only if it taps into already established labor laws (TUC) and business regulations. After all, don’t transport unions in Ghana organize strikes? Don’t they raise fares? How do they do it? You are already under a ministry. Make an impact!
In Ghana, becoming an actor is as simple as paying 35 GHC, which means anyone can claim the title without meeting professional standards. As a result, the country’s celebrated actors—those who actually earn money from their craft—often do not join the guild.
However, if the guild had proper regulations where membership was earned rather than merely paid for, (hence the infighting to spend 35ghc) it would become valuable. By enforcing standards that require professional credentials, experience, and contributions to the industry, the guild could establish itself as an authoritative body that truly represents and protects actors.
The only way to build a strong film industry is to make guilds attractive and essential by offering tangible benefits such as:
- Health insurance
- Private hospital care
- Pension & SSNIT contributions
- Subsidized workshops abroad
- Awards exclusive to guild members
- Low-interest loans
- Standardized pay scales
- National database membership (ensuring only registered professionals are hired for international, government, or corporate projects)
“How do we fund these?”
By requiring employers to pay a percentage of costs to hire guild members, alongside membership fees. The Producers Guild of America (PGA), for instance, charges $1,000 and above in tiered membership fees.
Once the guilds are empowered, they should run the industry like a private business. That’s how you build an industry. When the economic impact of its earnings begins to reflect in Ghana’s GDP, only then can filmmakers demand a seat at the table. Until then, we only deserve to watch the match from behind the wall. Any government money allocated to filmmakers in the current state will go to waste. It won’t be sustainable.
If the government truly wants to help, it should take a drastic step—disband every guild and remove them from the film bill. They serve no real function in their current state. Let them be reconstituted with proper mandates and governing agreements that ensure collaboration across all guilds. The distribution guilds should create a global database of distributors and provide access and assistance to registered production companies. Various guilds should work on capacity building! Training! Have you tried hiring an AD or a DIT in Ghana? It’s akin to pulling teeth.
The real reason some filmmakers want government funding is that they believe money will magically make them creative, hardworking, ethical, disciplined, and compliant. Izza lie.
Seek ye first the kingdom of doing things the right way, and all other things shall be added unto you.
Ahhh, you haven’t heard? I have a chapter in the next Bible because I caused too much trouble in my lifetime.
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