He recently revealed this via a viral clip, and Nigerians have been reacting.
According to him, the confusion is as a result of Baba Ijesha having two sets of lawyers, and while he insists Baba Ijesha be released without paying bail money, the other set of lawyers are negotiating with the police who are asking for money to be paid as bail.
He added that the other lawyers do not want to work with him because they are concerned about someone else taking their glory.
His words, “The main problem is Ijesha has two sets of lawyers. The first set are the normal, due process conservative group and the other one is led by me, the one that they’re seeing as volatile, as radical, as activist, as confrontational.”
Nollywood is a sobriquet that originally referred to the Nigerian film industry. The origin of the term dates back to the early 2000s, traced to an article in The New York Times. Due to the history of evolving meanings and contexts, there is no clear or agreed-upon definition for the term, which has made it a subject to several controversies.
The origin of the term “Nollywood” remains unclear; Jonathan Haynes traced the earliest usage of the word to a 2002 article by Matt Steinglass in the New York Times, where it was used to describe Nigerian cinema.
Charles Igwe noted that Norimitsu Onishi also used the name in a September 2002 article he wrote for the New York Times. The term continues to be used in the media to refer to the Nigerian film industry, with its definition later assumed to be a portmanteau of the words “Nigeria” and “Hollywood”, the American major film hub.
Film-making in Nigeria is divided largely along regional, and marginally ethnic and religious lines. Thus, there are distinct film industries – each seeking to portray the concern of the particular section and ethnicity it represents. However, there is the English-language film industry which is a melting pot for filmmaking and filmmakers from most of the regional industries.
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