My Life In Nollywood: Ken Erics

Every week, The Culture Custodian grants you an all-access backstage pass into the lives of Nollywood rock stars. You get to learn about their fascinating backgrounds, the behind-the-scenes stories, and more. This episode features actor and producer Ken Erics.

Ken Erics, whose full name is Ekenedilichukwu Ugochukwu Eric Nwenweh, always knew he was meant for the creative industry as far back as he could recall. The many influences he picked while growing up, from his early days in Kano where he was born to his teenage and youthful years in Anambra where he had his secondary and tertiary education, equipped him with the knowledge of diverse human cultures and experiences that would shape his career. While at Nnamdi Azikwe University in Awka, Anambra, where he earned a Bachelor’s degree in Theatre Arts and would later return for a Master’s, he made his Nollywood debut in the Chris Ubani-directed home video film, Holy Prostitute, where he played a minor role. He continued to attend auditions, particularly in Delta and Enugu states, and got other roles. However, it was not until 2012 that he got his big break on The Illiterate.

Apart from his robust home video filmography, Erics has starred in Omoni Oboli’s Okafor’s Law (2016), Omugwo (2017) and The Bridge (2017), both directed by Kunle Afolayan, Lorenzo Menakaya’s Ordinary Fellows (2019), and Ebuka Njoku’s Yahoo+ (2022), as well as several Africa Magic and YouTube productions. He is the executive producer of The Pocket Book (2021) and Daddy’s Love (2024). Daddy Love, which also stars Erics in the lead role, tells the story of a man who fell in love with and got married to a prostitute in spite of warnings from family and friends. The prostitute later betrays him, leaving behind a daughter for him to cater for, a daughter he invests all his love and care on.

Beyond his film and television appearances, Erics also sings, writes, plays musical instruments, and has been involved in numerous stage plays, including Ola Rotimi’s Trials of Oba Ovoramnwen, Hopes of the Living Dead and Grip Am, and Wole Soyinka’s Child Internationale. With a career spanning two decades, his multiple creative commitments and vast oeuvre makes him a major voice and contributor to different stages in the twenty-first century development of Nollywood.

This interview with Ken Erics has been edited for clarity.

What sparked your interest in acting?

It stemmed from when I was much younger. I knew I was drawn to the arts, to performances— acting, singing, dancing from a very early age. Along the line, because of my growing up, I went into music, realized I had talent for that, and then got on with it. When it was time for me to go into the university, at that time, I had already done a couple of acting roles in secondary school as a member of the dramatic society and in church as well. So, I just found out that acting was attractive and something I was called for. I put in Theater Arts in my JAMB form, and that was how the story began. My first Nollywood appearance was in a home video film in 2000.

How did your upbringing in Kano and Anambra states shape your development as a creative?

My upbringing in Kano introduced me to diversity. Kano is a diverse city where you meet people from all parts of Nigeria, and we grew together, getting along. We were in different groups, in school, church, or on the neighborhood streets. It was a communal experience that exposed me to various cultures, lifestyles, and people. Early on, I began to embrace diversity, respect others, understand their language, learn their culture, and appreciate them. That was what Kano did for me. Getting back to Anambra where I schooled gave me the skills to excel in my job. Anambra made it easier for me to go to Enugu, a film hub at the time, and Delta. So I was available whenever there were  opportunities and auditions. Both locations actually did help in shaping who I have become.

You’ve starred in numerous Nollywood films. What draws you to a particular role or script, and how do you prepare for your characters?

What attracts me to a role is relatability. The story has to be engaging and relatable. The character must have life. There has to be something you can feel about this character, something you’re looking for. I ensure it’s a character that is rounded and robust, and there’s a story that is  gripping too.

Which of your roles particularly shot you to stardom?

I would say The Illiterate. Before then, I had done a couple of other projects in which I played prominent roles, and those projects gave me visibility too. There were films like Indian Doctor, North and South, and Holy Oracle. These were the first movies that put me in people’s faces because people liked them at the time. But I wasn’t a household name until I acted in The Illiterate, which was released in 2012, with Yul Edochie, Tonto Dikeh and a couple of others. The film was a massive hit and I became a sensation.

As a producer, what do you look for in a project, and how do you balance your creative vision with commercial viability?

I already have a fan base who respect my work and whom I love so much and I would not want to disappoint. I know their expectations of me. So when I’m going into a project, I first look at the story and I track with my team. We tend to see who fits into what we do, the casting, budgeting, and then we go into production. For me, I’m looking out for the best, not necessarily using the biggest spaces or the most expensive stars.  I always want to have people see themselves in my characters, feel what my characters feel, go through their same experiences and all of that.  I’ve been a commercial actor for more than a decade and I know what it takes for an actor or a movie to sell. I know what the audience looks out for, the angle they want the story to go. I’ve also  been involved in other people’s projects, including some marketing and distribution. All these I put into consideration in knowing how to make my movie and recoup my investment.

How do you see your role as a cultural ambassador for Nigeria and Igbo culture through your work?

Honestly, I do not see myself as a cultural ambassador. I am just one who likes culture, without necessarily being an ambassador. It’s not just Igbo culture, but every other one—Yoruba, Hausa. I’m interested in people’s way of life and like to see the differences and diversity. Most times when you see me express myself, it’s usually in Igbo because that is where I’m most comfortable with. When I’m doing a cultural movie, I make sure I do it in such a way that depicts the values of that culture because that’s what matters at the end of the day.

As an actor who has worked in various genres and formats, from traditional home video films to more contemporary, high-budget productions, what do you think is the secret to sustaining a successful career in Nollywood and staying relevant in an ever-changing industry?

There’s a saying that anything worth doing is worth doing well. If you are good at what you do and you keep getting better, there’s always room for you because people like good things. I think that’s my secret. I’ve always tried to give my best to every character, because I believe whoever is paying me for a project is not picking that money from the streets or from the gutters. They are paying that money because they know I am going to give them their worth, and that worth is also going to get them their returns. It’s very important I do not take my work lightly. I’m a very disciplined person. I do not play with people’s investments. I’m not a latecomer. I don’t hold up artists. I give my best, mind my business and get along.

Can you share an instance where your personal life and professional career intersected in a meaningful way, and how did you navigate that intersection?

Right from the onset, I have separated my personal life from work. I’m always out there in people’s faces, at locations, events, at red carpets and all of that. So I know it’s very important that my private space is safe enough for me to hibernate, reboot, rest. My private space is like my sanctuary, and I have never let it crash.

Which of your films resonate with you the most?

That movie would be Daddy’s Love.  It’s a movie that is so dear to me. I gave it my all. I shot that movie for over a year. We started filming until COVID 19 began and resumed after the lockdown. It was a very demanding movie. I am thankful that it came out, won us an award at the Nollywood International Film Festival. The efforts we put into it paid off and people appreciated it.

Looking back on your career, what has been the most memorable moment or achievement for you?

That would be the day I got to find out that the movie that gave me my breakthrough was doing well and people were beginning to recognize me as I started getting calls and messages. I have had many high moments after that but that is still peculiar because you know what it means to transition from a stage of struggling to making an impact—with people reaching out to you to say you did great.

What are your hobbies?

I go swimming sometimes. I do music too. I record, play the keyboard, sing, and write songs. When I’m in the right environment, I go hiking. And I am also someone who likes to trek a lot.

How can associations like the Actors Guild (AGN) better support and protect the well-being of their members, particularly in terms of safety, insurance, and emergency support?

I know that the AGN under the present leadership is initiating an insurance policy that I think, but I’m not so sure, has started running. However, the awareness is low. Our safety as industry professionals is very important. I have been to locations where risky stuff is done and we take it for granted. With the incident that happened with my late friend Junior Pope—God bless his soul—we have seen that we need a lot more care and concern, understanding that our job is risky and we must safeguard ourselves. Our people also need to realise that when you belong to an association, you are required to pay your dues. When you don’t do so, you cannot expect much help. It is these dues that will cover insurance and other concerns.

Are you currently on any project you would like to talk about?

I just finished a project a couple of days ago. It’s a huge project, shot in Lagos, but I am not allowed to divulge much information about it. The project has Nse Ikpe-Etim, Bimbo Akinola, and other actors in it.

What advice would you give to young actors and producers looking to break into the industry, based on your own experiences and challenges?

My advice would always be “don’t give up”. The challenges can be overwhelming because I’ve lived through them. There’s the challenge of not having the finance to get to places of opportunities, not having contacts or not even knowing where it’s happening. But whatever opportunity you get, exploit it. I went for countless auditions earlier in my career and wasn’t picked. This dampened me but I wasn’t discouraged. So, it’s okay to get tired and take a break, but just know that your dream is more important. Make sure you are  working on improving yourself, watch YouTube videos, take acting classes, learn speech acts, develop your vocabulary, and read voraciously.