If you follow Nollywood-focused conversation on Twitter, you must have seen the video where Jemima Osunde mentioned how Nollywood actors are expected to be social media content creators and how casting considerations are made based on social media followers and presence. If perhaps you minimally engage with Nollywood conversations on Twitter but obsessively watch Nollywood films across cinema and streaming platforms, you must have been intrigued or confused about the presence of certain social media influencers in films and TV series. And if this isn’t you, you might have been privy to your actor friend, lover, sibling, son or daughter constantly complaining about losing roles due to their fragile social media followers. In a digital world, this is the humbling reality that actors have to contend with globally. However, in Nollywood, what are the conversations to be held?
Filmmaking, in a capitalist-driven economy like Nigeria, is serious business. With the constant surge in social media users and changing audiences’ habits, filmmakers, like brand owners, have to arduously observe and study market trends to make films and cast actors. Thus, to enhance ticket sales and films’ visibility, film executives and producers are learning to find the safest way to make financial returns. The Nigerian film industry is still populated with mostly commercially-driven directors, producers, and executive producers. This has meant, over the years, filmmaking decisions around cinema and streaming platforms are made with a business focus. One such safe practice is placing business over art. In simple terms, it means casting actors or non-actors based on social media following and presence. And, in the age of influencer marketing and social media currency, certain actors, mostly but not limited to upcoming actors, are suffering the burn.
As Waliu Fagbemi, a Nigerian casting director, will mention, more filmmakers are thinking more about how to make financial returns. “Nollywood is an industry that has more commercial filmmakers than artistic filmmakers. In that kind of situation, you have more people thinking more about making returns when making a film. It’s about how to get returns on investment. That can also, in most cases, dictate casting considerations. With commercial films, it’s mostly about the face and who is trending, not necessarily about who is more talented.”
Taiwo Egunjobi, director of All Na Vibes, In Ibadan and Green Fever, agrees there are and should be massive drawbacks to overly prioritizing popularity over talent. But, judging that a majority of the industry was and is still being built on survival first, artistic expression second, this situation might persist. “Film executives want to derisk their investments as much as possible, and casting popular faces could make the difference. I don’t like it, but it’s the reality of things.”
To understand this global casting thinking, I asked these filmmakers and industry practitioners what factors must have led to this stage. They agree that this reality is being driven by economic factors and changing audiences’ habits. Filmmakers are studying the audiences to know and understand what they like, what they are watching, who they are following, the platforms they’re using, and social media influencers of ex-BBN housemates they’re raving about. “To market your film, it’s either you find actors with a large following that can guarantee ticket sales or streaming numbers. Or you find an advertisement agency that charges good money to be able to create marketing content to market your film. Sadly, not all filmmakers have this money. So, casting an actor or social media influencers with a large following is the safest way to do this marketing,” Fagbemi shares.
Obinna Okerekeocha, another Nigerian filmmaker, also agrees that this decision is fuelled by economic reasons. Admittedly, in the Global South, filmmakers expend substantial resources to make films, and as Egunjobi and Fagbemi agree, making a financial return is a major concern. “We already have a distribution problem in the country. This implies that filmmakers have to look for personalities and situations that will make it safer to make returns. Also, the average person spends a large part of their day on phones. It’s a global trend hinged on influencer marketing and the allure of personality,” Okerekeocha adds. Fagbemi, however, adds a caveat: “We[as an industry] also need to be careful of this so that it doesn’t overshadow raw talents and storytelling.”
Does this casting consideration affect the quality of Nollywood films being made? In an industry where filmmakers decide on which stories get told, which characters get spotlights and actors to cast using consumers’ habits, how disadvantaged does it leave filmmakers? Watching through recently produced Nollywood films and TV series will reveal a level of unskilled performances and plot-ridden scripts. Egunjobi weighs in on the subject by stating that the topic is complex and requires careful consideration and contextual analysis. The director mentions three factors worth considering: “The type of film being made, the talent of the person being cast and the size of the role they’re being cast for.”
Egunjobi acknowledges that the success or failure of a film doesn’t necessarily depend on these factors, as it ultimately comes down to the film’s objectives. The director suggests that casting a person to play themselves in a film can be a good choice if the film is a summer blockbuster. “However, casting someone with a large following but limited acting talent can be a poor choice if the role requires dramatic range. The key is to consider the specific film, the talent of the person being cast, and the size of their role. By taking these factors into account, you can make informed decisions that work for your project.” Okerekeocha adds that in the Global south where economic realities are hard and primal focus is placed on survival, art suffers. The filmmaker adds that the film industry has been invaded by interloper who sees the industry as a cheese factory where they put money and cash out returns. These people don’t care about what happens in the industry. In answering the question, he recalls a conversation with Femi Odugbemi, where the veteran told him that the industry is substantially more filled with filmmakers than film artists. Egunjobi and Okerekeocha raised concerning issues that should inspire thoughts and conversations on how to rein the situation in. As Nollywood filmmakers keep finding a way to float without structured government support, the average Nollywood filmmakers, either the mainstream or independent ones, will have to strive for balance.
How can filmmakers maintain balance? In 2023, Jade Osiberu’s Gangs of Lagos became available on Prime Video. The film has Chike, Wasiu Alabi Pasuma, and Zlatan playing roles that push the plot forward. While these roles somewhat lean into their established identity, Osiberu still demanded excellent performance from the musical acts. Kunle Afolayan has also cast Layi Wasabi in Anikulapo: Rise of the Spectre. Watching this series, it isn’t the typical Layi Wasabi’s online persona that’s visible. It’s rather a different character playing a role in this dreamscape created by Afolayan, the director. Thus, even when Layi subtly attempts wearing his online persona, the director honed him under to maintain creative and directorial vision and integrity. This is a way to preserve directorial vision and independence.
As a director who has worked with mostly “unpopular” faces and names, Egunjobi shares how independent directors can maintain artistic and directorial independence when working with studio executives and executive producers. The key, the director says, lies in finding film executives who respect and share your vision. As he mentions, he has been fortunate to work with executives who see themselves as co-partners in protecting and presenting the film’s vision to the world. Certainly, there are slight differences in specific details, but the joint conviction keeps the vision together. “To achieve this, filmmakers must find people who are, first of all, reasonable and open to dialogue about what that vision entails. This also means being willing to negotiate and find a balance between staying true to your artistic vision and being flexible enough to make adjustments. Ultimately, it’s about finding a collaborative partnership that allows you to maintain the essence of your vision while still being open to input and guidance.”
Casting using social media metrics isn’t just a Nollywood reality. Hollywood actors have had moments of frustration questioning why studio executives place premium attention to an actors’ social media presence before they can be cast in a studio film. It’s important to highlight that this mind-numbling consideration isn’t the case in certain Hollywood independently produced films as it is in Nollywood too. Studios like A24 credited with producing Everything Everywhere All At Once, On Becoming A Guinea Fowl, Queer, The Zone of Interest, Past Lives and other award-winning titles, aren’t driven by overt commercial intention. Art takes primal attention, and this underscores the kind of films being told and the cast members. Similar to A24-produced films, there are artistically-driven Nigerian filmmakers, like Egunjobi, C.J “Fiery” Obasi, Abba T. Makama, Michael Omonua, Daniel Oriahi, and others whose drive is art over commerce. Though commercial filmmaking drives the market, some filmmakers resist it.
Does this new reality affect actors negatively? The answer is yes. For actors who have a restrained interest in using social media, it places an unfair burden on them to be performative. Also, in a world where non-actors are certain of getting roles due to their social currency, it can weaken the resolve of upcoming actors who don’t stand a chance due to their social media numbers, Additionally, what all this means is that, as an industry, we might never get to see new exceptional talents because the industry keeps regurgitating the same faces and names to meet market demands. As Fagbemi will mention, there’s a class angle to be considered in the conversation too. Certain upcoming actors don’t have the time, access, resources, and knowledge to build a social media following. There are even certain actors who have difficulty buying data, not to talk of building a social media presence and community. There are also others juggling other jobs that don’t give them the leisure to do these things. But, as Fagebemi ponders, should they be penalized for this? Should they suffer for this? The casting director doesn’t believe so. “It’s not always fair, even if it makes business sense,” he concludes.
Acknowledging that this is the new reality, what can budding and established actors do to ensure continued relevance? Fagbemi encourages actors to ask themselves if they want to be known as celebrities or skilled actors. Answering this question, as he implies, will help an actor to decide how best to navigate their career. Unmindful of their decision, he implores actors to understand that social media is good and great for their careers. However, it shouldn’t be the beginning and end of their brand and craft. They can harness it to promote themselves, show range with monologues, and auction videos. But it shouldn’t be the end and start of their career. “Social media is really important in the era we live in now. And if, as an actor, you want to star in cinema and blockbuster films, you should, if you can afford to, invest in brands or PR experts that can advise you on how to build your brand and following.”
As a casting director who has cast for both commercial and artistic films, when talents are needed for commercial and artistic films, different considerations are made. He explains further that when names come up for casting consideration, it’s the actors’ skill and body of work that makes them stand out. “At the end of the day, those who respect quality work will come to find you.” Okerekeocha shares Fagbemi’s opinion. He encourages actors to find strategic ways to be relevant. This means defining the kind of content they put out and finding interesting ways to engage their followers. Beyond this, as Fagbemi highlights, it’s about honing their crafts. “We are in a space where the artistic nature of filmmaking suffers. This means that certain actors believe body enhancement and doing online theatrics assure them roles. However, when we come to the real world of acting, these people can’t compete with their contemporaries. Ultimately, actors should find a balance between harnessing the accoutrement that social media offers and honing their crafts.”
Egunjobi concludes that this reality is concerning for actors whilst mentioning that certain actors mightn’t be comfortable with certain demands from film executives. “To address these concerns, I believe it’s essential to have a contract that outlines the expected activities. If an actor is uncomfortable with certain demands, they should be able to specify this before joining a project. This should be part of the signed contract.”
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