Gabriel Okorie: The Trailblazer Of Nollywood SFX Makeup Design

By Perekeme Odon

Groundbreaking make-up artist, Gabriel Okorie is a Nigerian multiple award-winning filmmaker, actor, art director, production designer, a stunt coordinator, and of Africa’s most decorated makeup artist renowned for special effect make-up designs in the Nigerian motion picture industry; the global African brand tagged Nollywood.

Gabriel Okorie

Gabriel has lived a lot of life with a roster of clients far beyond his years and has been painting famous faces such as Omotola Ekeinde-Jalade, Genevieve Nnaji, Stephanie Okereke-Linus since far before he could start winning awards without parental consent.

Raised in Owerri, the capital of Imo state on the Eastern coast of Nigeria, Gabriel spent his childhood unconsciously creating all kinds of art while always feeling a gravitational pull towards drawing.

With over 26 years of industry experience, Gabriel’s status as one of the pioneer makeup artist in Nollywood is renowned and unparalleled. Having served at the Ogun State Council for Arts and Cultural, Abeokuta with the hope of securing a job with a bank or oil company, he found himself in Nollywood as an actor courtesy of Basorge Tariah Junior whom they served together until he met Zeb Ejiro at the audition of Faces.

Gabriel On A Pose With His Awards & Plaques

“After facing minor roles, one day I attended an audition and was cast to play a lead role in the movie ‘Faces’, but when Zeb Ejiro who was the director of the movie showed up, he signified his interest on someone younger to play the role since the character is meant to be in the secondary school. Afterward that encounter, Zeb Ejiro showed interest in me and introduced me to his brother, Chico Ejiro and his associates. ”

He was engaged in the Chico Ejiro’s Grand Touch Picture family as a production assistant even though he wanted to become an actor, but discovered his strongest point was not in acting and decided to take up makeup since he was good at sketching and hairstyling. Chico Ejiro noticed his drawing and styling skills and immediately sent him for further training to apprentice under the tutelage of the iconic Dagogo Diminas-Jack who recruited him into his professional production design management team, 13 FATMAN & Associates as a makeup assistant in 1995 to horn his skill in an age when the concept of beauty and special effect makeup was still new to Nigeria.

Gabriel has stayed current on the emerging techniques and a force to reckon with in the industry with major classical commercials and documentaries aside lending his magic touch to an array of films like, After School Hours, Lost Kingdom, King Jaja of Opobo, Out of Cage, festival of Fire, and Egg of Life amongst many others. With decades of experience in Nollywood, the list of players who rely on him day in and day out run long.

Gabriel Okorie On A Movie Set Of 'Call The Sun'

The filmmaker who developed an obsessive knowledge of the industry sees every job as a challenge. “I have been lucky enough to be surrounded by lots of talented creative minds, and have come to learn not to see any work as easy because if you do so, you may find yourself performing below expectations. What makes GabaZzini Koncept standout is because we take all genres of production seriously and don’t compromise standards. Even when a script is flat, we try on our best to bring life into it by creating good characterizations through makeup effects.” He declared.

The makeup designer world over is hired by the producer during pre-production and begins by reading the script. “He or she must identify the period, location, mood, and any specific descriptions in the text that must be reflected on the actor’s face; like scars, wounds, or other significant physical features. This is especially challenging when preparing for fantasy, classic, and epic productions comparable to Azima and Egg of Life. Depending on the skills of the designer, a special effects makeup designer may be hired to concentrate on latex work and other facial prosthetics.” He stated.

Gabriel Okorie & Prince Jide Kosoko On 'Posh Battle'

Since his first expedition to climb the Nollywood rock along with his talent and ingenuity, the Isiala Ngwa North, Abia State-born filmmaker who is popularly known as GabaZzini by his colleagues who generously shares his knowledge on filmmaking has gone on to achieve countless national and continental accolades.

His multiple awards include Best Makeup Artist, Pan Africa Movie Award in Ghana (2003); Best Achievement in Make-Up, Africa Movie Academy Awards (AMAA 2007 Azima,), Best Achievement in Make-Up (AMAA 2010 The Child); Best Make-Up Artist, Nigerian Movies Award (NMA 2012), The Mirror Boy, South East Actors Guild of Nigeria (AGN) Best Make-Up Artist 2010, 2012, 2015, and 2018 respectively. He also won the 2017 Golden Icons Academy Awards (GIAMA) Best Makeup Artist of the Year with the movie Invasion 1876 directed by Lancelot Oduwa-Imasuen. 

The Aladinma Housing Estate Primary School, Owerri alumnus got nominated at the 2013 Africa Magic Viewers’ Choice Award (AMVCA) with The Mirror Boy and missed narrowly to Jacqui Bannermen’s Otelo Burning. He was again nominated at the Best Art Director’s category with Stephanie Okereke’s Dry and Dagogo Diminas’ Stigma at the Best Makeup category in 2016 AMVCA respectively.  

The bachelor’s degree graduate of English Language and Literature of Abia State University, Uturu prominent make-up techniques have made him a favourite amongst the Nollywood crowd who are always inspired by his artistic art & design overflowing with beautiful make-ups put together through innovative creativity and artistic vision with his powerful make-up teams to provide insights into their astounding accomplishments that reveals timelessness in beauty.

Gabriel Okorie & Afro Beats Artist, Jaywon On Set

“The design process is about telling a story, and a makeup artist paints that story in colour. The actor emotes through his or her body and face, but it is the makeup designer’s task to enhance that emotion and help convey the character.” He asserted.

The NUJ graduate and University of Uyo post-graduate diploma in Dramatic Arts advises makeup artists to always endeavour to be creatively responsive to their craft with accepted standards of morality, respectability, and decency in expediting their duties. He indicated that “Costumiers and makeup artists get closer to the cast than any other member of the production staff. Dressing bodies and painting faces is an intimate process that requires someone who is both discreet and polite—it doesn’t hurt to be a good conversationalist (with sweet-smelling breath); stay current on emerging techniques. With time and several credits under your belt, you will make the steps forward from makeup assistant to artist and eventually designer. He professed.

The people that work in the effects industry are truly the artisans of the 21st century because it's based on art and not commerce. If the motivation was commerce and money-making, they sure would not be working in this industry but off working in more lucrative fields. Becoming a special effects makeup artist in Nollywood (or any other filmmaking hub) is a difficult proposition. You, therefore, need to get creative. That’s simply because, more so than in other areas of the film industry, the career path for special effects makeup artists is faced with stiff competition. This is increasingly true in all major cities with a thriving film community, cities like Asaba, Enugu, Owerri, and Jos…but especially Lagos. The sad truth is that there are more makeup artists than there are jobs unlike years ago when we started.

Gabriel Okoro With Actor Zubby Michael On Set

“We're in a very unique and special place in the FX industry. This may not always be the case but for the past 25 years that I've been in business, it has always been the case. If we have too much work on offer we pass it on to our nearest competitor. If we need someone, because we're overextended and need to meet a deadline, I'll ring our nearest competitor. Within the industry, we share staff and expertise.  We work with the considered thought that there are no secrets and within the model and creature effects industry there are publications where you can share all and everything that you've discovered and learned on each new film because it's the cross-pollination of ideas that allows the industry to grow.” He acknowledged.

At the dawn of the millennium in the year 2000, Gabriel gave back to the industry with the establishment of GabaZzini Koncept; a freelance advanced professional creative art and design company on a wild and wonderful roller coaster ride to inspired young and upcoming make-up artists, which has become a vital part of many professional make-up artists’ education.   

“Establishing GabaZzini Koncept 20 years ago is for my own professional development but also to share the knowledge gained over the years to people who are just starting. I'm as passionate today as the day I started out. For me, it has to be fulfilling creatively before anything else. Even if we are in need of work we will turn down opportunities if they are not creatively fulfilling do not offer a creative reward. All I want to do is impart knowledge and create,” he says. “I’m always thinking, what’s the legacy going to be. I want people to look back 20, 50, 100 years from now on my work and think, Damn, that was a time. GabaZzini Koncept will be celebrating its 20 years anniversary in December, and I give God the glory.”

Gabriel Okorie Ad Judas Iscariot On The Set Of 'Our Jesus Story'

Amongst many groups, the Emmanuel Secondary School, Owerri ex-student is a founding member of the Creative Designers Guild of Nigeria (CDGN) in 2002; a guild that oversees the functionality of costume, props, makeup, and property in the Nigerian motion picture industry. He is a member of the Actors Guild of Nigeria (AGN) and Association of Enugu state MC and Comedians.

Some of Okorie’s best-known film work includes Azima (2007), Azubuike Erinugha’s The Asylum (2010), The Child (2010), Obi Emelonye’s The Mirror Boy (2011), Obi Emelonye’s Last Flight To Abuja (2012), Dagogo Diminas’ Stigma (2013) and Stephanie Okereke’s Dry (2015). Others include Genevieve Nnaji’s Lion Heart (2017).

His hobbies are reading, writing, and creating. He is happily married with children.

Gabriel Okorie & Wife

GabaZzini Koncept

Awards & Plaques

 

 

 

 

 

Awards & Plaques

Gabriel On A Pose With His Awards & Plaques

 

 

 

GabaZzini In A Gun Pose Acting

Gabriel On The Set Of All For Love

Gabriel Giving Back To The Industry Through A Master Class Programme

Gabriel In A Pose With His Warriors

Gabriel Costuming Zack Orji

Production Design By GabaZzini Koncept

Gabriel On The Set Of 'Our Jesus Story'

Gentle Jack- Make-Up Design By GabaZzini Koncept

Gabriel Okorie As Art Director On Set Of 'SoulMate'

Gabriel Making Up Ebere Okaro On 'Men's Code'

God Never Takes Bribe: A Review Of Chiringo

By Don Kester Oshioreame

From a sociological perspective, the 22:46 minute short film by Ovunda Ihunwo (DGN), titled Chiringo (My God doesn’t take bribe) is a revisit of Marx’s theory of Class Class Struggle which basically thrives on the principle of social stratification that creates a marked delineation in fiscal, political, social, etc terms amongst people in society. 

Dr. Ovunda Ihunwo (DGN)

The Honourable, Nyemenuka Kpakota (Ovunda Ihunwo) effectively represented the bourgeoisie (political elite, put in specific terms) in society while Chiringo (Juliet Urenna) and her mother (Joy Success) were the proletariats; the plebs, oppressed, deprived, and disadvantaged in society. The story set in Rivers State (Ikwerre) is a simple plot woven around the apparent abuse of power and the advantages that come with it. The honourable ran for office to represent his people and attract development, but would rather deprive an indigent constituent of a scholarship opportunity to medical school and chose to offer his biological son the opportunity at the expense of a brilliant but indigent Chiringo who incidentally, came out tops at the entrance examination. All pleas to do the honourable thing by awarding the scholarship meant for the indigent, fell on deaf ears. In the characteristic manner of many a political elite, they would rather sacrifice merit and excellence on the altar of political party patronage and loyalty. However, in a twist of fortune, replete with Morality Plays, Chiringo eventually qualified as a medical doctor by the sheer resilience and sacrifice of her widowed mother. Then the Karmic law of retributive justice caused the path of honourable Nyemenuka Kpakota and Chiringo to cross again. As the leveler; COVID-19 would not permit many elites to embark on Medical Tourism, as usual, honourable was rushed to a middle-class clinic after a dramatic fainting episode whilst called to give an account of his stewardship in office. Incidentally, Chiringo was the doctor on duty, and the revelation ensues.

As a well-researched and scripted piece of satire, Chiringo probed the very fabric of our social structures; massive acts of corruption, the hypocrisy of the elites, maladministration, dysfunctional institutions, religious hypocrisy, perversion of justice, etc.

In terms of dramaturgy, Ovunda managed his cast for this short movie very well, cutting out irrelevant scenes and characters, which helped to focus on the basic thematic thrust of the story, which is justice. Again, it is relevant to underscore the use of apposite registers (which aided fluidity in language and dialogue) for the characters that in no little way made the script interesting, cerebral and professional. The character of the medical doctor stands out in this regard. It answers the question of research, which is mostly missing in many a script in Nollywood. 

The blend of vernacular and English language coupled with near-perfect subtitling made comprehension engaging and effective.

Ovunda Ihunwo (DGN)

Histrionics was near flawless by both major and supporting actors. Acting reeked of professionalism. The manner characters seamlessly walked in and out of different moods and emotions as the story progressed should be applauded. The chemistry was real and authentic which again calls to question one of the weaknesses that have dog tailed some movies over time; the evidence of lack of depth in characterization and believability in role interpretation owing to lack of rehearsal or the absence of an artistic director. This was not an issue in my view in Chiringo. Kudos must go to Ovunda who himself is not just a distinguished thespian but also a multi-talented lecturer in the University of Port Harcourt, Nigeria.

Visually, the locations though not much, rightly so, were on point; carefully chosen and managed effectively, as it enhanced the storytelling technique employed by the director, which to my mind is the Latin Media Res (in the midst of things). It is an avant-gardist approach to film narrative as it defies traditional persuasions. At the risk of sounding critical, many Nollywood enthusiasts have always pointed to the exotic and synthetic locale and scenic designs employed by many producers and directors alike which makes our visual interpretation somewhat unreal, if not fake. Our location must be in sync with our story. Our production elements must not stir conflict. This was another positive for Chiringo.

In terms of shots, we had a variety of them fitting for the mood of the situations in the scenes. Amazingly, the shots were not repetitive thus becoming boring. The use of flashback was not cliché, i.e. zoom into the face of the subject (narrator) then dissolve into the past event or use the predictable line of transition “This is my story” and at the end; “That was how it happened” the storytelling technique used by the director was fresh and innovative, if not radical.

The flavor of the local music added verve to the entire ambience. That was commendable.

 I wasn’t too sure the costume beneath the doctor’s coat worn by Dr, Chirongo. The pants looked rather too lengthy thus clumsy but the character managed it well by her brisk movement when she had to move around.

However, a major discrepancy in the entire production was a point of medical research especially within the precinct of the COVID-19 health protocol for health workers; it is required of medical personnel attending to patients in the Covid-19 season, to be properly kitted with face masks, hand gloves, also, washing of hands and use of sanitizers should have been prioritized.

Otherwise, Chiringo is an apt chronicle by a committed filmmaker who makes a serious effort at capturing for posterity an important epoch in national history; a time where public servants would rather faint when called to give an account of their stewardship, a time when public officers falsify documents to their own advantage just to renege their responsibility and subvert justice, a time where the elite thinks ill-gotten wealth can fetch them whatever they desire. 

I recommend this flick to everyone. It's a masterpiece.

https://www.youtube.com/watch?v=dOmevbBwrNA