How to make films through David Gitonga’s lens

Tosh, as he is popularly known started making films by chance, and has since stuck to it as his chosen profession.

As he grew up in Nanyuki, Laikipia County, he would save sh10 every week in order to catch Kung Fu movies at the local movie kiosk during the weekend.

After sitting his KCPE examination at Moi Nyeri Complex Primary School, he joined Njiris Boys High School in Kigumo and later pursued a diploma in marketing. It was while doing internship that he discovered film creation and switched careers.

Already with an award winning production- Nairobi Half Life, an excellent production of Disconnect and with the third production at its treatment stage, Tosh’s greatest desire is to bring Hollywood closer home, by creating productions that can at least aesthetically; if not budget-wise rival those that come from abroad. The 36-year-old walks us through the journey of the making of a film producer.

In terms of film, what would be your title?

I’m a director, although filmmaker is the best term because it means both producer and director in one. This is the person who decides, ‘I’m going to make a film,’ and then goes through all those elements that get the film made.

Did you always know you would be in film?

I wanted to be a sales man, out of admiration of my neighbour who seemed to have it all-frequent traveling, something I found intriguing. I thus pursued a diploma in marketing and communication at Kenya Institute of Management, then interned in a film in a production house in 2002.

While there, we made a film – Dangerous Affair – from scratch and it took me back to my childhood weekends when I was an avid fan of Kung Fu movies. I never thought of film being a career path even though I was really good at writing compositions, getting between 36 to 38 out of the possible 40 marks. I was very imaginative and good at storytelling.

How then, did you go about getting into film making?

I started as a personal assistant intern and had a stint at serving tea and making script copies. I had to be patient because I was only starting to learn the art.

Eventually, I ascended to third, second, and finally first assistant director after about two years. I did that for six years before directing. Njoki Muhoho was producing Changes for Mnet and I was first assistant in season one. She noticed that I was quick to suggest shooting angles besides helping out in directing actors. She let me direct the whole second season and the rest is history.

Did you have to go for training to be where you are?

A lot of my training was through apprenticeship and learning on the job. In 2009, however, I enrolled in the One Fine Day Masterclass. This class made me understand why things are done the way they are in the film creation process, because although I knew how things were to be done, I hadn’t quite yet been affirmed to, the reasons behind these steps.

It was very important because we were exposed to professionals who make international films. They taught us how to edit sound, lock pictures, score the film and a lot more of what goes on after shooting. I didn’t know so many things past shooting that I got to know during this time. It was through this that I got to direct my first film.

What is the process of producing a film?

You need an idea, then you brainstorm it with the writers, creatives and other producers. Then the treatment (the idea written down without dialogues; what the story is) is done, which is then brainstormed again to tighten up the story. After this, comes the script drafting. A film or series can have up to 10 different drafts. Then one starts to source for funding, after which they start preparations for shooting and this is where the casting, location scouting and scheduling comes in.

After the shooting has been done, you move into post production which can take even months to do. Nairobi Half-Life was completed in 24 days.

What is the biggest impediment to the industry?

There is nowhere to go for funding when you want to make a film. Even after producing, we don’t have distribution channels for films that are obvious. We thank God for internet because without it, some of our productions would never have seen the light of the day. Somehow, we keep growing despite the challenges, because every sector has its own share of setbacks.

What advise do you have for those looking into developing a career in film production?

Start out early. You have more room to make mistakes and learn from them. Film production calls for a creative mind and a lot of patience. Be ready to put in the hours but most importantly, enjoy the process. It is a great career and the closer you get to your dream; those hardships remind you how far you’ve come from. That you haven’t failed if you’ve grown, and money is not the only measure of success.

What do you see as the future of filmmaking in Kenya?

It can only be bright. Kenyans and Africans are used to watching good quality productions, so we have a task to match what comes from Hollywood.

I see us rolling and crushing cars along Uhuru Highway and creating different action stunts that people want to see when they go to watch movies like Black Panther. Even if we were only to sell these online and not make as much money, it should make the viewer say, “I watched a really good Kenyan movie, and I’d love to watch another one.”