The Wedding Party 1 thrilled Nigerians in December 2016. Most had good comments on the film especially the quality of the production and dramatization. This movie is indeed a Nigerian romantic directed by Kemi Adetiba on a typical Nigerian Wedding. The movie was premiered at the Toronto International Film Festival in Canada and at Eko Hotel and Suites in Lagos. The Wedding Party 2: Destination Dubai brings us up to date with the events which took place in Wedding Party 1. The film was produced by ELFIKE Film Collective (a partnership of four major production houses in Nigeria: EbonyLife Films, FilmOne Distribution, Inkblot Productions and Koga Studios). The screenplay is an authentic Nigerian story well dramatized by a crop of highly gifted and efficient cast and crew.
“The screenplay is the film on the page… People often just think writers write the story or they just write some dialogue. There is some dialogue there, there are also visual effects, there are special effects, there is make-up, there is music, there is editing, and there is also the narrative device obviously to move the story along…when a writer writes they write in a sense with the film happening up in the head, and what you are doing is, you are putting it down in order for people to be able to interpret that and to realize that, and the entire production process is that, basically. It is trying to realize the intentions of the screenplay.” (M. Rimmer, “Interview with Jan Sardi”. 30th April, 1999)
In film production, the producer ordinarily engages the cast and crew in production contracts and outlines the role, rights and obligations of each and every party. Drawing up contracts or agreements is crucial to the film industry. The Copyright Act as amended provides that in the case of a cinematograph film or sound recording, the author, who in those cases is the producer shall be obliged to conclude, prior to the making of the work, contracts in writing with all those whose works are to be used in the making of the work. That provision provides the statutory basis for contractual arrangement for film production. There are key points that should

be taken into consideration by filmmakers. These include:
• Authorship of the Film and definition of relationship: film Producer, writer, director and performers.
• Ownership of the Film
• Fees and royalties (Capitalizing on the success of a film)
• Grant of rights
• Control by the producer
• Distribution Period
• Film investors/ financiers
• Writer’s moral rights in a script
• Assignment
• Dispute resolution