“I am a storyteller. That is the core of everything I do. I want to write, produce, direct, and just keep creating.” — Ife Olujuyigbe
By Joseph Jonathan
In the fast-changing ecosystem of Nollywood, where stories are increasingly shaped by bold new voices, few journeys capture the arc from observer to storyteller as compellingly as that of Ife Olujuyigbe. From her early days as a keen film critic and fiction writer to her current pivotal roles as a screenwriter and producer, Olujuyigbe’s path is a testament to an innate calling for storytelling. Her unique trajectory, unexpectedly rooted in an engineering background, has endowed her with a distinctive blend of analytical precision and boundless creativity, allowing her to tackle the intricacies of film production with remarkable ingenuity.
As a versatile talent behind the scenes, Olujuyigbe has masterfully contributed to numerous projects, both crafting compelling narratives and orchestrating their realisation. Her producing credits include notable films such as Egun (2023), Ile Owo (House of Money) (2022), Obara’m (2022), and The Trade (2023), among others. Her screenwriting prowess is evident in works like Reel Love (2025), When Are We Getting Married? (2023), The Thing with Feathers (2023), What About Us? (2024), and several others. Her insights offer a valuable perspective on the practicalities, triumphs, and ever-present evolution of filmmaking in Nollywood.
In this exclusive interview with Afrocritik, Ife Olujuyigbe offers a glimpse into her multidisciplinary approach to storytelling, the practicalities and creative liberties of filmmaking in Nigeria, and discusses her continuous pursuit of authentic and impactful stories.
For our readers who are meeting you for the first time, can you tell us a bit about yourself? Who is Ife Olujuyigbe?
Ife Olujuyigbe is very introspective; she lives in her head quite a bit. She likes stories and enjoys the process of telling them. These days, she’s too tired to type them out unless she’s being paid for them, but she knows that the time will come when she can return to the fun of it, the leisure of it.
Ife Olujuyigbe is a polymath. She enjoys and can do many different things. Lately, she has rekindled her dream of making music, and tomorrow, she’d probably be painting a masterpiece in her living room. She just believes in living it all, even though she can get painfully shy. But she’s working on it. I promise, she is.
Ultimately, Ife Olujuyigbe is warm and kind and sometimes over-analytical. She is a loyal friend, a decent human being, and very trusting. What she has learned by experience is to let people earn their place first. I think that sums up who Ife Olujuyigbe is.
You studied Engineering, and at some point, you were a fiction writer and film critic. How did you move from all that to screenwriting and producing? Was there a specific moment that made you realise storytelling was your true calling, or was it a gradual shift?
It was something I always knew from childhood, because I was drawn to stories. I wrote a lot, won writing competitions, and even had lunch with a state governor in Primary Four after winning an essay contest meant for both primary and secondary school students. Storytelling has always been part of me.
Engineering came from that typical Nigerian scenario where if you’re smart and good at math, you must study either Medicine or Engineering. I was analytical, so it made sense. But even while I was studying or working internships in oil and gas, I never stopped writing. I’d come home from a rig and still find time to tell stories on Facebook, then on my blog.
Both paths grew together, like the parable of the wheat and tares. But eventually, I had to choose, and I chose storytelling. Whether it was writing fiction, critiquing films, writing scripts, or producing, it all came from the same place: a deep love for stories. Eventually, Engineering had to take the back seat.
How does that technical background influence your approach to screenwriting or producing — whether it’s structure, problem-solving, or even how you critique your own work?
Engineering did not directly shape my work as a storyteller in the way people might expect, but it absolutely stretched my mind. It built my capacity to take on difficult things and handle them well. I always say, if you can survive engineering, especially chemical engineering in OAU [Obafemi Awolowo University] where I studied, then you can take on almost anything.
Some of my classmates are excelling in completely different sectors. Titi Ekundayo is doing amazing work in agritech with Pullus Africa. Nola Adetola is behind Veritasi Homes in real estate. We all studied engineering, but we each went on to pursue what truly interested us. That is something I think the everyday Nigerian understands.
Many of us complete our degrees, then figure out what we actually want to do with our lives. In my case, engineering helped me realise my ability to take on hard things and do them well. That confidence has stayed with me, and I am genuinely grateful for it.
When you transitioned into Nollywood, what surprised you most about how stories were developed or produced compared to your expectations as a critic?
Good question. To be honest, nothing really surprised me. I had watched a lot of Nollywood films in order to review them, so I already had a sense of how things might be done. Even though I had not been actively involved in production at that point, the output gave me clues. I knew there was probably not a lot of funding. I could tell it must have been difficult to execute certain things.
I would just say that what you do not expect is how hard filmmaking in Nigeria really is. Honestly, Nollywood filmmakers are superheroes. There are so many challenges, and still, we create. People think that once you have the funds, a story, and the actors, you just go and shoot. But there are layers of hurdles you must cross to make a film.
For example, these days there is also the question of where the films go. How do you make your money back? What platforms do they land on? Things are not like they were two or three years ago.
So, to answer the question directly, nothing has really surprised me. I just have more respect now for filmmakers and everyone who works in film, now that I am fully in it.
As someone who’s had producing credits on quite a number of films, you’d understand that producing requires wrangling so many voices. How do you manage to protect the heart of a story while collaborating with directors, production companies, or actors?
I think it really comes down to perspective. Sometimes, it feels like there are too many cooks, and you worry that all the different opinions might dilute the story. But there is also another way to see it. You can look at it as having many minds working together to make the story stronger. That is the approach I try to take. It is not always easy, but I hold on to that perspective.
You have to go into a project trusting that others are just as invested in the story as you are. The truth is, film is not a solo venture. You need people. So many departments come together to make a project shine. Instead of seeing them as anything else, I see them as collaborators, as helpers.
To protect the heart of the story, I believe in setting a clear vision, hiring trustworthy professionals who are passionate about filmmaking and not just looking to make a quick buck, and being open to collaboration. By doing so, you can create an environment where everyone works together to bring the story to life, while still maintaining its core essence.
What’s a misconception about the producer’s role in shaping a story that you’d like to correct?
One major misconception I would like to correct is the idea that a producer’s role is purely organisational or administrative, and that they are not as involved in the creative shaping of a story. That could not be further from the truth.
I wear multiple creative hats as a writer, director, and producer. But speaking specifically as a producer, I can say that the job requires deep creative engagement. A lot of storytellers simply want to create, they do not necessarily want to think about how to bring all the moving parts together. That is where the producer comes in.
A good producer must understand the story at a fundamental level. They are not just managing budgets or schedules, they are making creative decisions that shape the outcome of the film. For instance, they work closely with the writer, offering feedback like, “This private jet scene might need to be rewritten with an SUV instead”, because of budget realities. It is not just cutting things out, it is helping the story evolve in a way that still works, maybe even works better.
Producers also carefully hire crew members whose skills match the tone and vision of the story. And even after principal photography ends, the work continues. In post-production, the producer is watching cuts, giving notes, ensuring the music fits, making sure there are no technical, narrative or even legal errors, and helping to refine the final product.
So no, a producer is not just someone who handles logistics. A producer is a storyteller. Their work is deeply creative, and we need to start giving them more credit for that.
In the process of bringing a script to life, has there been a time when a limitation (budget, time, etc.) forced a creative solution you’re now proud of?
Yes, many many times. One example that immediately comes to mind is from Egun. There were so many things going wrong on set that night. We were running out of time, the day was about to break, and it was our final shoot day. The budget was gone, we had to wrap that morning, and tensions were high.
Shoutout to the director, Lillian Carmen, who held it together. We needed to shoot a fire scene, but we did not have the time to light an actual fire safely. On the spot, I came up with the idea to simulate fire using flickering lights. We rigged something simple to mimic the glow and movement of flames. It worked beautifully, and I was really proud of that moment. It reminded me how far creativity can stretch when you are under pressure.
This is honestly one of my favorite parts of the filmmaking process. Things will go wrong, but those are the moments where your instincts and creativity come alive. When it all comes together in the end, it feels incredibly rewarding.
It is not uncommon to see screenwriters complain about being paid “peanuts” for their work, with some selling one script multiple times to make ends meet. How can Nollywood shift to a model where writers aren’t forced to ‘recycle’ work to survive? Do you think royalties should replace one-off payments?
Is recycling scripts really a common issue? Honestly, I do not think so. I know the situation you are referring to, but I genuinely believe it was a one-off. This is not something that happens often, where writers are recycling scripts to survive. That said, the issue of small pay is very real, just not limited to writers. It cuts across the entire industry.
People are underpaid and overworked. That is largely because Nollywood is still growing. There is no strong regulation yet, unions are not as active as they should be, and many people are just figuring things out as they go. So yes, payment structures are still shaky.
As for royalties, they sound great in theory, especially for writers who contribute significantly to a project. If a producer can’t afford to pay your full worth upfront, offering a percentage is fair. But it’s also important to understand that producers are taking on major financial risks. Once distributors and other stakeholders take their cut, there’s not always much left.
So yes, writers should advocate for royalties, but it’s something to work toward. Early in your career, a one-off payment might be necessary. As you build your portfolio and your name starts to carry weight, then you can negotiate for part ownership, royalties, and higher fees.
We’re already seeing actors do this. The model is possible, it just requires time, trust, and proven value. Producers need to trust that what you bring to the table is worth betting on. When that happens, ownership becomes a real conversation.
On this same issue of one script to multiple producers, some would argue that it is a result of increased demand for cheap, fast content on NollyTube. Do you think the NollyTube boom could potentially harm creative integrity?
Not really. Like I said earlier, I don’t even think this whole “one script to multiple producers” thing is as widespread as people make it out to be. Maybe two instances at most. And even then, the idea that stories are completely original is tricky.
Stories echo each other all the time. Rarely do you find an idea that is entirely novel. As for the NollyTube boom itself, I think people forget that we have been making these types of films for a long time. We just were not putting them on YouTube. There were Africa Magic films and Iroko TV films. I remember being subscribed to Iroko in 2015 and bingeing all kinds of content. These were low-budget, fast-paced projects too. The only difference now is the platform and how quickly people can access them.
So no, I do not think NollyTube harms creativity. I think it simply reflects where the world is right now. Attention spans are shorter. People want quick, accessible content. It is the same reason TikTok and Reels have replaced longer videos. But that does not mean thoughtful work is disappearing. It just means different forms are coexisting. Creativity is an endless resource.
There are still so many stories to tell, so many voices we have not heard. And if you have something to say, something you really care about, then put it out there. Make your film, tell your version, let it live. That is what matters most.
What’s a piece of advice you received early in your career that you’ve since questioned or rejected?
I came into the industry believing you should never turn down work. And to be fair, I do like work. There was a time when every new project made me giddy, even if I was secretly dreading it. I just wanted to keep going, keep creating. But over time, I have learned to say no. Not because I do not want to work, but because I need to protect my time and energy. In the beginning, I said yes to everything and everyone.
Now, I say yes with intention. It has to be worth it; financially, emotionally, and creatively. I have realised that no one will prioritise you the way you need to prioritise yourself. So I stopped people-pleasing, started being more mindful of my yeses and noes, and making sure that the projects I take on are truly worth my time and energy. So far, I regret nothing.
What’s a story you’re dying to tell but haven’t found the right platform for yet?
I have a lot of stories I want to tell. There is this short film idea I have been sitting with for a while. It is a love story. Sad, but beautiful and heartfelt. It is not that there is no platform. If I want to release a short film, I will, and take it to festivals. It is more about timing and money. But I am working on it.
I also have a few feature-length ideas that I am excited about. I am a storyteller. That is the core of everything I do. I want to write, produce, direct, and just keep creating. There is a web series idea I have, something small and fun. Like When Are We Getting Married? Low budget, young cast, easy to binge on a lazy afternoon. I want to do a lot of that too.
Lately, I have leaned more into romance, but I started out writing thrillers. I want to play with both. I want to experiment. Try new things. I wish we all had unlimited funds to make every idea happen, but for now, I have had to choose carefully.
Really, I just want to keep making things. The platform isn’t the issue. YouTube, cinemas, and streamers like Showmax are all options now. I’m not waiting. I’m telling stories, and when the resources align, I’ll make them all. That’s the goal.
What’s one screenplay you wish you wrote?
Oh wow. I have a few, actually. Interestingly, Kayode Kasum, who I work with and who knows me well, has a habit of sending things to me and saying, “this feels like something you would have written,” and he is usually right.
There is a film called Look Both Ways (2022). When I watched it, I thought, this is exactly the kind of story I would write. There is also The Life List (2025) on Netflix. That one, too, I remember thinking, I wish I had written this. I love heartfelt dramas. Simple stories, but done really well. Compelling, emotional. I like stories that make people feel, that leave them thinking after the credits roll. Stories that let you sit in a world and just imagine, “What if this was me?”
I have always been a big Shonda Rhimes fan. Honestly, anything she has worked on, I wish I were a fly on the wall in those rooms. Her storytelling rhythm is just incredible. I also recently saw Forever (2025) on Netflix. It was so moving. I remember thinking, “I wish I was part of that writers’ room.” So yes, anything heartfelt, romance, drama, comedy. That is where I feel most connected. Every time I see a good one, I think, “Yeah, I wish I wrote that.”
You’ve been a 2nd Unit Director on two projects, what are your plans for a debut short or feature film?
So, like I said earlier, I directed a short film that went to the Africa International Film Festival in 2017, but I never really put it out. I kind of just tucked it away. So in that sense, my next short film will be my proper debut. It will be my first full directing effort where it is all me.
Ultimately, I want to direct A LOT MORE. That is the goal. I write, I produce, but I also want to direct because I have a distinct voice and a unique eye. I think the world should get to experience the story through my lens, and I am really excited about directing. Out of all the things I have done across departments in Nollywood, I think that might be where I would shine the most. I have big hopes for that part of my journey.
If you could write the screenplay for and produce a film with an unlimited budget, what genre would you choose, and who would be your dream director and top five cast members?
Honestly, with an unlimited budget, I’d experiment. I’m naturally drawn to a blend of romance, drama, and comedy, especially when they’re well-balanced. I’d also love to explore the thriller or horror-thriller genre more. I really enjoyed writing Eluku (2019), which is on Showmax, and I’d like to do more in that genre.
If I could choose any director, it would be me, because I want to direct. But if I had to hand it over, I’d pick LowlaDee or Biodun Stephen. LowlaDee’s This Is It had so much heart, and Biodun Stephen brings deep emotion into everything she touches.
For casting, I’m excited by younger Nollywood talents like Martha Ehinome, Onyinye Odokoro, Maggie Osuome, Obehi Aburime, Obinna Okenwa, and Vine Olugu. I’ve worked with Martha and Obehi before, so it would be great to do it again.
Among more established actors, I’d pick Efa Iwara, Bisola Aiyeola, Meg Otanwa, and Uzor Arukwe, who are incredibly talented. From the older generation, I admire Akin Lewis, and Tina Mba, who I think is such an amazing woman. They both bring energy, presence, and depth. And of course, Timini Egbuson. He’s a friend and a phenomenal actor who would round out the cast beautifully.
What advice would you give to people looking to get their first screenwriting and or producing credits?
Advice can be overwhelming because there’s so much of it. So I’ll just say: do the work. If you say you’re a screenwriter, then write. If you’re a producer, produce. Stop waiting for permission or the “perfect” opportunity. Start small if you have to.
People always say you can do big things from a small place, and I believe that completely. I mentioned earlier that I made a short film during my service year, and at that time,e we were earning just ₦19,800 a month. We didn’t have much, but we pushed through. Let your courage be bigger than your fear, and your discipline even stronger. Just start. Do the work, and keep doing it. You’ll be surprised where it leads.
Joseph Jonathan is a historian who seeks to understand how film shapes our cultural identity as a people. He believes that history is more about the future than the past. When he’s not writing about film, you can catch him listening to music or discussing politics. He tweets @JosieJp3