Filmmaker and actor Deyemi Okanlawon has claimed that YouTube is emerging as a preferred platform for filmmakers to showcase their work.
In an interview on Channels TV, Okanlawon said the shift is driven by the challenges of theatrical distribution, which can be daunting for independent producers.
The father of three explains that taking a film to the cinema can be difficult, especially for newcomers, due to various obstacles and limited access to resources.
In contrast, he said YouTube offers a more democratic platform, allowing filmmakers to reach global audiences without traditional gatekeepers.
According to him, with YouTube, filmmakers can bypass the politics and marketing pressures associated with cinemas and instead focus on creating content that resonates with their audience.
“Taking a film to the cinema, it’s really difficult for an independent filmmaker, especially if you’re starting. There are so many things that you’ll find as obstacles. So, it’s not really to their advantage. That’s why you find now that there are a lot of people who are serious filmmakers, but they are now gravitating towards YouTube.
“It’s very democratic. Nobody’s standing in your way. There’s no politics of, are you a popular producer? Are we giving you enough showtimes? Are you spending enough money on your marketing so that we can now decide whether your film is worthy of attention in cinemas?” he said.
The profit margin for filmmakers in cinemas is also a significant concern, as Okanlawon reveals that producers often receive only about 40% of total ticket sales, which may not cover production costs.
He shares his personal experience, where his film grossed over N130 million in cinemas, but the profit was not enough to cover costs.
“Your profit is different, right? So now you’re looking at how much I spent? How much did I make? And remember that the entire 130 million cinema ticket sales wouldn’t come to just the producer.
“It split up between the cinema, the government — yes, rightfully so — who take their taxes… You’re going to get about 40% of that amount. And for me, I’ll tell you, that didn’t cover my costs,” he said.
Okanlawon also spoke about his decision to take a break from acting in 2019 to learn the business side of filmmaking, which eventually prepared him for producing his work.
“Remember that in 2019, I quit acting and joined Silverbird Film Distribution for two years. See, I cannot afford to go to school and do an MBA and then come back and come out and perform. So, I went to work. That was me going to school to understand the industry from the other angle.
“I joined Silverbird as the head of marketing, and then I was promoted to head the Nollywood distribution desk, and eventually I became the acting CEO for Silverbird for a brief period in 2021,” he revealed.
The award-winning actor also addressed why streaming giants have reportedly pulled back on commissioning Nigerian originals, citing global business realities and unmet expectations.
“They were looking for their Squid Game. They were looking for their Money Heist that would come out of Nigeria. And while we’ve had… I mean, I’ve been on some of the biggest films that have been produced in Nigeria, and thankfully, I don’t think that it got enough traction,” he explained.
Okanlawon noted that he remains optimistic, especially for creators willing to adapt; “No matter where I find myself, whether it’s a Netflix original, a cinema film or now on YouTube, I’m going to give my 100%,” he stated.
Deyemi Okanlawon is an accomplished young actor and producer, who worked his way to the top from working a 9-5 job to becoming one of the darlings of film lovers and critics alike. Growing up on Allen Avenue, Ikeja, Lagos, where his mother ran a confectionery store as a baker, and his father worked in the aviation sector, Deyemi’s first hit at acting came while participating in church dramas. He didn’t take it seriously until it seemed lucrative, and he decided to explore his hidden talent on the big screen. In this interview with the Nation’s ASSISTANT ENTERTAINMENT EDITOR GBENGA BADA, he opens up on his career, success and new ventures.
Many believe that to have you in a film costs a lot of money, but once you are paid, you always deliver. How does that make you feel?
I want to mention Daddy Pete Edochie and something he said. I’m astounded that he even knows my name. This is a legend I grew up watching. Honestly, people like me exist because men like him thrived and were successful. Now, as for people talking about me at all, I thank God there’s even something to talk about. Many in this industry are not recognised at all, so being recognised, even if controversial, is something. I came into this industry to mind my business, do my job, and take care of the people I’m responsible for. You’ve known me since I was a child, running up and down. I don’t have a new story. I came from good stock. I’m from Abeokuta and Ilisan Remo, Ogun State. I come from royalty. We hold our heads high. We respect people, culture, and tradition, but we don’t take nonsense. I’ve been very intentional and deliberate about putting my heart and soul into my work. So please, don’t come to me with sentiments. They once said I did a film because of “passion.” Well, there was passion, I did the film, didn’t I? And then we grew. We learnt more. Nollywood has grown, at least for some people. But then, they didn’t let others grow. While some films were being shot for five or 10 million, with actors being paid 50–100k, others were shooting for 15 to 100 million, still offering the same fees. That’s where the tension comes in. In 2019, I resigned. I quit acting. I was tired; I wasn’t getting roles that excited me or the kind of pay I could take home to my family. Most importantly, I felt like I was working in an environment where people weren’t trying to be excellent. If you questioned anything, you were seen as doing too much. So, I left and dusted my resume. I had worked in sales and marketing for about 10 years before acting. I found a job as Head of Marketing at Silverbird Film Distribution and stayed there from 2019 to 2021. Then COVID-19 happened. I did ‘Omo Ghetto: The Saga,’ and the film was a hit, and everyone started calling me again. After that, it was back-to-back hits. Top producers and the biggest films and greatest stories came calling and started. But nobody really wanted to pay. So you have to fight for what you deserve. And I think that’s the perception that has been built. Thankfully, it seems I’m doing some things right by just trying to be excellent. I just got back from filming a sci-fi television series in Japan. They needed an African character, did their research, and called me on board. I was there for three months filming. It was the best experience of my life. If there is anything you know about the Japanese, it is that they have the spirit of excellence.
Take us back to Nollywood when you started and compare it to where the industry is now. What has changed, and where do you see it heading in a few years?
I’m so thankful I came into the industry when I did, right at a turning point. Nollywood has always brought joy to Nigerians, but back then, we had issues, not necessarily with storytelling but with production quality and limited budgets. When I joined, people had just started investing more money into films. That shift began to attract talent from outside the traditional thespian space. I wasn’t professionally trained at first. I was self-taught, learning from drama groups in school and church, and from people who studied Theatre Arts. Later, I took a one-month course in “Acting for Film” with the New York Film Academy through the Del-York Film Institute, and that completely changed my perception of acting. It gave me the tools to grow. For the rest of the time, I have been honing my skills. From around 2013 till now, I’ve watched the industry grow in leaps and bounds, thanks to platforms like Africa Magic, Iroko, and a stronger cinema presence. It hasn’t been a smooth ride. We’ve had streaming platforms enter, leave, return again, and now no one’s quite sure what’s happening. But Nigerians are so industrious, and we always find a way. In the next five to 10 years, I believe we’ll see groundbreaking work. It’s happening with Afrobeats already. I often say Afrobeats popped before Nollywood because of its short-form content. It is two to five minutes, and that format goes viral faster. The film is long-form, so it takes more time. It’s like the elephant analogy: the bigger the birth, the longer the gestation. Nollywood is birthing something massive. I’ve seen a lot of new creatives entering the space recently, people from different walks of life doing amazing things. I believe something monumental is coming out of Nigeria and Nollywood that will shock the world. That momentum will attract more streaming platforms, as long as we continue to show that we’re ready. Streamers want excellence, and I hope their business model continues to favour those putting in excellence in their craft.
By the time we count one to 10 actors who are favourites of streamers and producers, your name will pop up. What do you think distinguishes you from others?
I’m on a lane all by myself. People think I’m an actor. I’m not just an actor. Some people act, and then some people become. When I’m emotionally invested in a role or a project, I become that character, and that takes a toll. The reason why I say I don’t take nonsense is that I invest so much. People don’t understand the mental pressure it takes to remain a character for a protracted period. It’s not pretending; it’s becoming. And in a space where we often lack the finances to care for ourselves afterwards. It’s like working in a harmful factory without healthcare. So lately, I’ve done fewer projects, five to six films a year, focusing on quality, not quantity. I try to work only with the best stories and production teams. If I seem like a favourite of the streamers, it’s because I aim to do the best work, and those platforms are the ones doing the best work. It’s about alignment, not favouritism. And the space is open.
There’s a perception that you make a lot of money. Are you truly making that much money?
I’ll speak honestly. Nollywood is financially rewarding for a portion of people, but especially for actors; the majority are not well-paid. I’ve been that guy, paid very little, and I never complained. I didn’t say, “Remove Desmond Elliot and put me.” No. My question was, “How can I become like Desmond Elliot and Ramsey Nouah?” There’s always talk about Nollywood men not making as much money as Nollywood women. But you must understand that as actors, we get paid in three different ways. There’s the acting fee, then there’s non-acting work, brand deals, event appearances, and MC gigs. It is not acting, but because we’re actors, and there’s fan love and gifts. Personally, I don’t receive much here, though occasionally someone asks for my account number. That’s rare for me. Some actors earn a lot more from gifts and fan love, and those kinds of giftings cover a wide spectrum of things. I can’t say much about that because that is not my space. That’s real, but not my reality. As for acting fees, not many films have the budget to pay hefty amounts of money like five, 10, 20, or 30 million naira. Only top productions backed by streamers can afford that kind of budget. Thankfully, I grew up in an entrepreneurial environment. Early on, I wasn’t sure how long-acting would be, so I decided that if I earned one naira, I would split it, half for my family, and half for business. I invested with friends, grew capital, and built a side hustle for myself. I regard myself as a creative entrepreneur. That’s how I’ve been able to sustain myself.
You have a background in marketing. How do you feel that marketing in Nollywood now is mostly about dancing on social media?
Whenever people are faced with a challenge, I think they do not think holistically about it. When you see that it seems like the people who are dancing are getting all the attention, you sit down and investigate it. What is really going on? You can make a fantastic film, and Nigerians won’t watch it. The audience that you are producing for is not receptive to it, so what are you doing? And if you say that you are producing films for the international market, then take the film to the international market; don’t sell it in the Nigerian cinema, where the audience just wants to laugh and have a good time because of the issues we are dealing with. Do you know how expensive things are? People will gather their money, take it to the cinema, and you then give them problems in films to think about. No, it is fun and games. I produced a film too, and I danced, because I wanted to make my money back. Even after doing great work as a filmmaker, you still have to entice the audience and entertain them. It is the person who entertains the most that people will buy their tickets from. I spent my children’s school fees finishing a film. If that film had failed, I’d have been in serious trouble. Thankfully, it worked. But I had to make that decision. If I had cried on social media that I was risking everything for this film, people would’ve shown up out of empathy. That’s the truth. Filmmakers need to learn to speak the language of Nigerians to market films. You speak the language of the people to get them to do what you want them to do. Producers need to begin to collaborate with actors. Yes, you have paid the actor to act, but when it is time to dance, you can’t dance alone; you can be wiser and collaborate with the actors. That is how to grow the industry.
With several of your colleagues facing EFCC scrutiny for Naira abuse, and recent statements from Iyabo Ojo and AY, how do you feel about the ban on spraying money, including dollars? Do you think it’s an overreaction?
I don’t have money to spray, so it’s not really my business. But as a Yoruba man with a twist, the day I have money and want to start spraying, that might become a problem to think about. First, I think just because something is cultural doesn’t make it right. We have a culture that doesn’t emphasise the maintenance of things, just look at how things are built and not maintained. Should we continue this way just because it’s part of our culture? I don’t think so. If we’re trying to recondition people’s minds about their country, respecting the Naira and showing respect for the country could be a good place to start. Secondly, I also feel there are so many issues with corruption and crime in the country across different segments of people. While I wouldn’t call the EFCC’s move against entertainers “too much,” it does feel a bit excessive given everything else we are dealing with. If every day we hear about corrupt officials, politicians, or organisations being brought down by the agency, we’d be more likely to trust that they’re acting in our best interest. Then, if they ask us to stop something like spraying money, we’d likely obey without question because we’d trust that the agency has the moral right to make such requests.
Kindly share with us your experience on your trip to Japan.
Japan was an eye-opening experience. I think every Nigerian, in one way or another, should experience Japan; it would open up our minds to the possibilities of what life can truly be like. Maybe then we’ll take our own country more seriously. Japan works, and it works because of its people. I was privileged to work with one of the biggest agencies there, NHK. The series we shot is in Japanese, but my character speaks English. Interestingly, I also did something for the Embassy of Japan in Nigeria. They wanted me to send a goodwill message to a VIP in Japan for his birthday. Turns out, it was for the Emperor. I originally wrote the script in English, but then I translated it into Japanese. I ended up doing a one-minute, thirty-second monologue entirely in Japanese, wishing the Emperor a happy birthday. That moment meant so much to me; it was an incredible experience.
What should your fans expect from you next?
As for what to expect from me this year, that Japanese series should be launching on Netflix and on Japanese TV stations by December. I also worked last year with my very creative friend, JJC Skillz, on a film titled ‘Seeking Justice.’ It should be hitting cinemas within the next month or two. The trailer is beautiful, and I’m honestly in love with that film. We’ve all seen amazing trailers that didn’t translate to good films, but this one is different. I’m proud to be part of it. It features some really incredible actors, and the story is just superb. It was a tough negotiation, but we pulled through, and I’m glad we did.
Deyemi Okanlawon is an accomplished young actor and producer, who worked his way to the top from working a 9-5 job to becoming one of the darlings of film lovers and critics alike. Growing up on Allen Avenue, Ikeja, Lagos, where his mother ran a confectionery store as a baker, and his father worked in the aviation sector, Deyemi’s first hit at acting came while participating in church dramas. He didn’t take it seriously until it seemed lucrative, and he decided to explore his hidden talent on the big screen. In this interview with the Nation’s ASSISTANT ENTERTAINMENT EDITOR GBENGA BADA, he opens up on his career, success and new ventures.
Many believe that to have you in a film costs a lot of money, but once you are paid, you always deliver. How does that make you feel? I want to mention Daddy Pete Edochie and something he said. I’m astounded that he even knows my name. This is a legend I grew up watching. Honestly, people like me exist because men like him thrived and were successful. Now, as for people talking about me at all, I thank God there’s even something to talk about. Many in this industry are not recognised at all, so being recognised, even if controversial, is something. I came into this industry to mind my business, do my job, and take care of the people I’m responsible for. You’ve known me since I was a child, running up and down. I don’t have a new story. I came from good stock. I’m from Abeokuta and Ilisan Remo, Ogun State. I come from royalty. We hold our heads high. We respect people, culture, and tradition, but we don’t take nonsense. I’ve been very intentional and deliberate about putting my heart and soul into my work. So please, don’t come to me with sentiments. They once said I did a film because of “passion.” Well, there was passion, I did the film, didn’t I? And then we grew. We learnt more. Nollywood has grown, at least for some people. But then, they didn’t let others grow. While some films were being shot for five or 10 million, with actors being paid 50–100k, others were shooting for 15 to 100 million, still offering the same fees. That’s where the tension comes in. In 2019, I resigned. I quit acting. I was tired; I wasn’t getting roles that excited me or the kind of pay I could take home to my family. Most importantly, I felt like I was working in an environment where people weren’t trying to be excellent. If you questioned anything, you were seen as doing too much. So, I left and dusted my resume. I had worked in sales and marketing for about 10 years before acting. I found a job as Head of Marketing at Silverbird Film Distribution and stayed there from 2019 to 2021. Then COVID-19 happened. I did ‘Omo Ghetto: The Saga,’ and the film was a hit, and everyone started calling me again. After that, it was back-to-back hits. Top producers and the biggest films and greatest stories came calling and started. But nobody really wanted to pay. So you have to fight for what you deserve. And I think that’s the perception that has been built. Thankfully, it seems I’m doing some things right by just trying to be excellent. I just got back from filming a sci-fi television series in Japan. They needed an African character, did their research, and called me on board. I was there for three months filming. It was the best experience of my life. If there is anything you know about the Japanese, it is that they have the spirit of excellence.
Take us back to Nollywood when you started and compare it to where the industry is now. What has changed, and where do you see it heading in a few years?
I’m so thankful I came into the industry when I did, right at a turning point. Nollywood has always brought joy to Nigerians, but back then, we had issues, not necessarily with storytelling but with production quality and limited budgets. When I joined, people had just started investing more money into films. That shift began to attract talent from outside the traditional thespian space. I wasn’t professionally trained at first. I was self-taught, learning from drama groups in school and church, and from people who studied Theatre Arts. Later, I took a one-month course in “Acting for Film” with the New York Film Academy through the Del-York Film Institute, and that completely changed my perception of acting. It gave me the tools to grow. For the rest of the time, I have been honing my skills. From around 2013 till now, I’ve watched the industry grow in leaps and bounds, thanks to platforms like Africa Magic, Iroko, and a stronger cinema presence. It hasn’t been a smooth ride. We’ve had streaming platforms enter, leave, return again, and now no one’s quite sure what’s happening. But Nigerians are so industrious, and we always find a way. In the next five to 10 years, I believe we’ll see groundbreaking work. It’s happening with Afrobeats already. I often say Afrobeats popped before Nollywood because of its short-form content. It is two to five minutes, and that format goes viral faster. The film is long-form, so it takes more time. It’s like the elephant analogy: the bigger the birth, the longer the gestation. Nollywood is birthing something massive. I’ve seen a lot of new creatives entering the space recently, people from different walks of life doing amazing things. I believe something monumental is coming out of Nigeria and Nollywood that will shock the world. That momentum will attract more streaming platforms, as long as we continue to show that we’re ready. Streamers want excellence, and I hope their business model continues to favour those putting in excellence in their craft.
By the time we count one to 10 actors who are favourites of streamers and producers, your name will pop up. What do you think distinguishes you from others?
I’m on a lane all by myself. People think I’m an actor. I’m not just an actor. Some people act, and then some people become. When I’m emotionally invested in a role or a project, I become that character, and that takes a toll. The reason why I say I don’t take nonsense is that I invest so much. People don’t understand the mental pressure it takes to remain a character for a protracted period. It’s not pretending; it’s becoming. And in a space where we often lack the finances to care for ourselves afterwards. It’s like working in a harmful factory without healthcare. So lately, I’ve done fewer projects, five to six films a year, focusing on quality, not quantity. I try to work only with the best stories and production teams. If I seem like a favourite of the streamers, it’s because I aim to do the best work, and those platforms are the ones doing the best work. It’s about alignment, not favouritism. And the space is open.
There’s a perception that you make a lot of money. Are you truly making that much money?
I’ll speak honestly. Nollywood is financially rewarding for a portion of people, but especially for actors; the majority are not well-paid. I’ve been that guy, paid very little, and I never complained. I didn’t say, “Remove Desmond Elliot and put me.” No. My question was, “How can I become like Desmond Elliot and Ramsey Nouah?” There’s always talk about Nollywood men not making as much money as Nollywood women. But you must understand that as actors, we get paid in three different ways. There’s the acting fee, then there’s non-acting work, brand deals, event appearances, and MC gigs. It is not acting, but because we’re actors, and there’s fan love and gifts. Personally, I don’t receive much here, though occasionally someone asks for my account number. That’s rare for me. Some actors earn a lot more from gifts and fan love, and those kinds of giftings cover a wide spectrum of things. I can’t say much about that because that is not my space. That’s real, but not my reality. As for acting fees, not many films have the budget to pay hefty amounts of money like five, 10, 20, or 30 million naira. Only top productions backed by streamers can afford that kind of budget. Thankfully, I grew up in an entrepreneurial environment. Early on, I wasn’t sure how long-acting would be, so I decided that if I earned one naira, I would split it, half for my family, and half for business. I invested with friends, grew capital, and built a side hustle for myself. I regard myself as a creative entrepreneur. That’s how I’ve been able to sustain myself.
You have a background in marketing. How do you feel that marketing in Nollywood now is mostly about dancing on social media?
Whenever people are faced with a challenge, I think they do not think holistically about it. When you see that it seems like the people who are dancing are getting all the attention, you sit down and investigate it. What is really going on? You can make a fantastic film, and Nigerians won’t watch it. The audience that you are producing for is not receptive to it, so what are you doing? And if you say that you are producing films for the international market, then take the film to the international market; don’t sell it in the Nigerian cinema, where the audience just wants to laugh and have a good time because of the issues we are dealing with. Do you know how expensive things are? People will gather their money, take it to the cinema, and you then give them problems in films to think about. No, it is fun and games. I produced a film too, and I danced, because I wanted to make my money back. Even after doing great work as a filmmaker, you still have to entice the audience and entertain them. It is the person who entertains the most that people will buy their tickets from. I spent my children’s school fees finishing a film. If that film had failed, I’d have been in serious trouble. Thankfully, it worked. But I had to make that decision. If I had cried on social media that I was risking everything for this film, people would’ve shown up out of empathy. That’s the truth. Filmmakers need to learn to speak the language of Nigerians to market films. You speak the language of the people to get them to do what you want them to do. Producers need to begin to collaborate with actors. Yes, you have paid the actor to act, but when it is time to dance, you can’t dance alone; you can be wiser and collaborate with the actors. That is how to grow the industry.
With several of your colleagues facing EFCC scrutiny for Naira abuse, and recent statements from Iyabo Ojo and AY, how do you feel about the ban on spraying money, including dollars? Do you think it’s an overreaction?
I don’t have money to spray, so it’s not really my business. But as a Yoruba man with a twist, the day I have money and want to start spraying, that might become a problem to think about. First, I think just because something is cultural doesn’t make it right. We have a culture that doesn’t emphasise the maintenance of things, just look at how things are built and not maintained. Should we continue this way just because it’s part of our culture? I don’t think so. If we’re trying to recondition people’s minds about their country, respecting the Naira and showing respect for the country could be a good place to start. Secondly, I also feel there are so many issues with corruption and crime in the country across different segments of people. While I wouldn’t call the EFCC’s move against entertainers “too much,” it does feel a bit excessive given everything else we are dealing with. If every day we hear about corrupt officials, politicians, or organisations being brought down by the agency, we’d be more likely to trust that they’re acting in our best interest. Then, if they ask us to stop something like spraying money, we’d likely obey without question because we’d trust that the agency has the moral right to make such requests.
Kindly share with us your experience on your trip to Japan.
Japan was an eye-opening experience. I think every Nigerian, in one way or another, should experience Japan; it would open up our minds to the possibilities of what life can truly be like. Maybe then we’ll take our own country more seriously. Japan works, and it works because of its people. I was privileged to work with one of the biggest agencies there, NHK. The series we shot is in Japanese, but my character speaks English. Interestingly, I also did something for the Embassy of Japan in Nigeria. They wanted me to send a goodwill message to a VIP in Japan for his birthday. Turns out, it was for the Emperor. I originally wrote the script in English, but then I translated it into Japanese. I ended up doing a one-minute, thirty-second monologue entirely in Japanese, wishing the Emperor a happy birthday. That moment meant so much to me; it was an incredible experience.
What should your fans expect from you next?
As for what to expect from me this year, that Japanese series should be launching on Netflix and on Japanese TV stations by December. I also worked last year with my very creative friend, JJC Skillz, on a film titled ‘Seeking Justice.’ It should be hitting cinemas within the next month or two. The trailer is beautiful, and I’m honestly in love with that film. We’ve all seen amazing trailers that didn’t translate to good films, but this one is different. I’m proud to be part of it. It features some really incredible actors, and the story is just superb. It was a tough negotiation, but we pulled through, and I’m glad we did.
What next?
Right now, I’m about to start shooting a project with FAAN, Funke Akindele’s production company. I’m looking forward to that. Funke is one of my absolute favourites to work with. Beyond that, I have a few ideas I’m developing. We’re looking for the right partners, not just people with money, but people who can also bring exposure, expertise, and experience to bring these ideas to life. There are always talks of creative industry grants and funds going around, but it often feels like no one knows what’s happening. If and when those meetings are happening, please, they should call us. Let us know. At least involve us. We want to be part of that conversation.
Any words for young Nigerians?
To every young Nigerian out there: your dreams are possible. Don’t let your environment limit the size of your dream. Don’t look at the state of the country and allow yourself to feel depressed or anxious about whether you have a future. Stick with your dream. The God who gave you that dream is the same one who will provide the resources and the people you need to make it happen. Just keep working hard, and smart.
Actor and filmmaker Deyemi Okanlawon has described his recent venture into Japan’s entertainment industry as a transformative experience.
In March 2025, Okanlawon made his debut in Asia through a production partnership with NHK Japan, one of the country’s leading networks.
Speaking in an interview on Nollywood on Radio, Deyemi shared insights from his three-month stint filming a sci-fi television series in Tokyo, where he portrayed an African character.
Okanlawon, who traveled to Tokyo with his family, emphasized the opportunity as proof of the global reach of Nollywood talent.
In his words: “I just got back from filming a sci-fi television series in Japan. They needed an African character, did their research, and called me on board. I was there for three months filming. It was the best experience of my life. If there is anything you know about the Japanese, it is that they have the spirit of excellence. Japan was eye-opening, every Nigerian should in one way experience Japan, it’d open up our minds to the possibility of what life should be like.”
After visiting Tokyo with his family, the ‘3 working day’ star embarked on a production partnership with one of Japan’s biggest networks, NHK Japan.
Sharing the experience on featuring in a Japanese feature, Okanlawon said the experience remains one of the best of his life.
In his words, “I just got back from filming a sci-fi television series in Japan. They needed an African character, did their research, and called me on board. I was there for three months filming. It was the best experience of my life. If there is anything you know about the Japanese, it is that they have the spirit of excellence.”
ActorDeyemi Okanlawon has spoken on the Economic and Financial Crimes Commission(EFCC)’s recent crackdown over naira abuse in an interview on Nollywood On Radio.
He acknowledged the need to respect the naira as a symbol of national pride, drawing a parallel to Nigeria’s broader cultural neglect of maintenance.
“Two things, I think that because something is cultural does not make it right. We have a culture that does not really emphasise on maintenance of things.
“We have seen how things are built and we do not maintain it so we continue in that light…They are saying have respect for the naira, have respect for your country, maybe that is the way to do it. But the second thing is that I also think there are so many issues with corruption and crime going on in the country across different segments of people,” he said.
However, he questioned the EFCC’s focus on entertainers for practices like money spraying, especially when high-level corruption remains a bigger issue.
Okanlawon suggested that if the EFCC consistently tackled corrupt officials and organisations, their moral authority would be stronger, making it easier for the public to support actions against cultural practices like spraying money.
“So this move by the agency to come against entertainers is a bit too much in the light of everything else that we are trying to deal with.
“If every day we hear about corrupt officials, politicians, or organisations being brought down by the agency, we’d be more likely to trust that they’re acting in our best interest. Then, if they ask us to stop something like spraying money, we’d likely obey without question because we’d trust that the agency has the moral right to make such requests”, he added.
Entertainers like Bobrisky and Cubana Chiefpriest were arrested and tried for naira mutilation whereas Iyabo Ojo, AY Makun were invited by the EFCC because they sprayed money at events.
Brilliant Nigerian actor and filmmaker Deyemi Okanlawon has pitched his tent with a new frontier in Japan.
The actor, who has been ecstatic about his new move in Japan, is currently planning to enter the Asian country’s entertainment world.
After visiting Tokyo with his family, the ‘3 working day’ star has embarked on a production partnership with one of Japan’s biggest networks, NHK Japan.
In a recent video, Okanlawon confirmed that he’s currently working on a TV series with NHK in Tokyo.
This move has seen the actor learning and speaking the Japanese language.
Okanlawon went a notch further to celebrate the Emperor of Japan, Hironomiya Naruhito aka Emperor Akihito.
In a special message to celebrate the Emperor’s birthday, Okanlawon made a short video of one minute, 29 seconds where he expressed warm felicitation to the Emperor in Japanese.
He wrote on Instagram: “Nollywood producers, especially newbies like myself and my wonderful partners at @bleedingartproduction who try to tell global-level stories, get next to no support from government, financial institutions (forget all that creative industry fund matter), or even industry players, and we end up spending all we have to produce these films. Yet it seems the same Nigerians we love to serve have no idea how much damage and loss their participation in piracy causes our industry.
“@iamjoyessien, thank you for understanding and learning, and @l444nnu, thank you so much for your kindness, love, and support; you have no idea how much you’ve renewed my hope in our people! I am forever grateful!”.
However, he assured Damilola that she remains his top priority, after God, and promised to love her till he breathes his last.
He ended the message with a wish for many more decades of celebrating their love and life together, with the means to never miss out on special moments.
He wrote on Instagram: ”My darling “Damilover, sometimes I don’t know how to show it or say it but somewhere at the back of your mind I hope that you know that I love every single moment with you…
“Lord knows I love my work but one of the downsides is having to miss precious moments with you and the boys and then having to be super intentional about making it up. More than anyone else you remain my number 1 priority and commitment (after God) and I’ll love you till my last breath.
“Here’s too many more decades of birthdays and other moments together and enough wealth to ensure that we never have to miss out on celebrating our love and our life. Love eternal.”
Actor and filmmaker, Deyemi Okanlawon, has shared the realisation that transformed his life.
In a social media post on X, he highlighted the significant difference between actors who earn the most and those who generate the highest box office returns.
Okanlawon emphasised that understanding this distinction is crucial for setting the right goals.
He subtly cautioned his fellow actors to prioritize their objectives, especially during a time when many are focused on identifying the top-grossing actors.
His timely advice serves as a reminder to actors to reassess their goals and strive for financial stability, rather than just seeking fame or box office success.
“Dear Actor, my life changed when I realised the huge difference between highest grossing and highest earning… be sure to set the right goals”, he wrote.
