The issue of unpaid royalties in Nollywood has taken a heated turn, as movie stakeholders react to remarks by Patience Ozokwor on the ‘Curiosity Made Me Ask’ podcast.
When asked why Nollywood legends come online to make videos to beg for money when they’re sick, Mama Gee, as she is fondly called, replied, “The problem we have, why you see us beg, is that they don’t pay us royalties. We just work and toil so hard, and then that peanut, that money you gave us to come on board and shoot for you, is the only thing we get. Go and look at the smallest actors in developed countries. Every work they do fetches them money every day of their lives.”
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As expected, industry stakeholders have begun weighing in on the remarks by the acting legend. Most are in support, but one thing keeps coming up: Nollywood lacks the necessary structure to institutionalise royalty payments.
Screenwriter and Podcast host Jola ‘Jollz’ Ayeye asks a pertinent question, “Let’s start by asking where royalties come from and what setup in Nigeria/Nollywood enables them? We barely have terrestrial television, and streaming is a one-off payment. Where will these royalties come from?”
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Jade Osiberu, Producer of the hit blockbuster movie, Gangs of Lagos, even though sarcastic, makes a salient point.
Who bears the loss if a movie doesn’t do well?
She said;, “I think the association should also implement a law that when a producer makes losses on a project, all the actors and crew come together to contribute to cover the losses incurred. Maybe, for actors, you can contribute by how many scenes you featured in, so the leads pay the most, then day players, and extras pay the least. For the crew, it can be by seniority.”
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She goes on to reveal that she encourages the actors in her films to invest their money in it so they can share in the revenue.
“I was one of the first producers to offer actors in my films backend deals and even ask them to invest so we can build together. I think these conversations should be held in a way that considers all stakeholders’ perspectives and industry realities.
“I get that everyone wants to look out for themselves, but filmmaking is one of the most capital-intensive art forms. In an industry like ours that is still figuring out and building infrastructure, it carries its own risks. Any single player just looking to earn without thinking about the whole value chain and ecosystem needs to settle down and really learn about their industry,” she said.
Negotiate a slashed fee
Similarly, Producer and Actress, Bolaji Ogunmola says, “If you want royalties, back end. Put your money in the film. Negotiate a slashed fee or nothing at all for a percentage. Put body joor. Let’s all enjoy the benefit of hard labour.”
British-trained Nigerian actor Obi Maduegbuna, who has starred in movies like ‘The Order of Things’ and ‘Tainted Canvas’, called for unity on this issue, saying that movie producers need to collaborate with actors to ensure progress in the industry.
He opines that “Nollywood only grows when producers and actors are aligned, not competing. Producers take on the financial exposure from development to distribution, while actors bring the visibility, credibility, and audience connection that make the work matter. Both roles are critical and neither works in isolation.
“The path forward is structure. Fair compensation within each budget, honest conversations about backend where there is real upside, and clear agreements from the start. When a film succeeds, everyone should benefit. When it falls short, the risks should already be understood. That is how a stronger industry is built for everyone.”
Structural problem
Producer, Director and Writer, Blessing Uzzi, whose movie ‘Call of my life’ is one of the most anticipated films this year, agrees with him.
Corroborating his colleagues stance, he said: “The truth is, this isn’t just a producer vs actor issue. It’s a structural problem. Take people like Patience Ozokwor, Chinedu Ikedieze, and Osita Iheme (Aki and Pawpaw): their work has become part of everyday culture, with memes, gifs, and viral moments used across the internet.
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“People engage with their performances daily, but they earn nothing from that continued use. And that’s not because producers are withholding something. It’s because we don’t have the infrastructure to track, license, and monetise that kind of cultural distribution.
“So instead of turning on each other, should we be thinking about how to build systems that keep the value created by our work flowing back to the people who made it? We need an ecosystem.”
Writer, Producer and Director Rita Onwurah, who has written movies like ‘Iju Ese’ and many others, believes actors need to follow the example set by their Hollywood colleagues if they want to enjoy the same benefits.
She said:, “Hollywood actors enter into negotiations with studios where they agree to backend payment, in exchange for reduced acting fees. You can’t insist on being paid whatever you charge and still demand backends/ a piece of the profits. You have to have skin in the game.”
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