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Jim Iyke – Divorce doesn’t stop me from being a good father

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Actor James Ikechukwu, popularly known as Jim Iyke, talks to NAOMI CHIMA about his career, family and other issues

Tell us a bit about your background.

To start with, about 70 per cent of what you read online about me is false, and mostly from unreliable sources. My academic background is in Banking and Finance, and Psychology. I studied at the University of Jos, and before that, Federal Government College, Kwali, Abuja. Over the years, I have broadened my path. I am deeply invested in personal development, and my greatest education has come from unveiling myself as a student of the world.

How did you end up as an actor?

For most people, their field of study doesn’t usually align with their eventual career. Life is really a journey of self-discovery. Along the way, you find your true passion, as opposed to your parents’ dreams for you. For those of us from Eastern Nigeria, parents usually set the course of our journies right from childhood. By the time you’re three or four years old, they’ve already decided who will be a lawyer, doctor, or businessman.

Somewhere along the line, you realise that you’ve been living your parents’ dreams, not yours. Those who follow that path to the end are often not the happiest, because they discover too late that their true calling lies elsewhere. You could even be financially successful, but still feel a deep emptiness that no amount of money can fill.

For me, things shifted unexpectedly. One day, a friend and I were broke and looking for money to buy a few bottles of beer. Then, we heard about an audition. We decided to go, thinking we’d just get cameo roles and head to the lounge. But in the middle of it, I had a moment of epiphany. I thought: “this is what I want to do for the rest of my life”.

I didn’t come from an entertainment background. My family members were traders, businessmen, scientists and politicians; but never entertainers. Choosing acting was seen as a taboo— a waste of life. But I stuck to my guns. At that point, rebellion was necessary. I had done everything they wanted, including graduating early. I told them (parents) to give me a year or two to explore acting, then return for my Master’s and PhD.

Suffice it to say, I never went back. What was supposed to be a quick look became a lifelong pursuit.

How has acting influenced the course of your life?

People often warned that acting was a hopeless pursuit, because there was no financial stability, or job security. Their logic was sound, but I couldn’t let it go. My counter-argument was simple: Give me a chance.

My father instilled in me survival skills, including a pursuit of knowledge, self-confidence and accountability, which are foundations for success in any field. I believed acting would not be different. But, when our relationship deteriorated over my choice, I was kicked out (of the house). That became fuel for me to prove them wrong.

Eventually, when things began to turn around, we revisited the conversation. I told him my agenda was clear: I just needed his blessing. Reluctantly, he gave it, and taught me the importance of financial literacy and delayed gratification. He said if I mastered those, it wouldn’t matter what career I chose, I’d already be 50 per cent ahead.

What about your mum, how much support did you get from her?

My mum was the anchor of my dreams. Sadly, she’s no longer with us. Nothing rivals a mother’s intuition; she is irreplaceable.

When conflict arose between the two men she loved most—her husband and her only son—she took a remarkable approach. Instead of taking sides, she let things play out, trusting each of us to do the right thing. I will always be grateful to her for believing in me when I had nothing to show for it, and for giving me the emotional support I needed.

Later, when I became successful, she was also the one who kept me grounded. She reminded me: It’s the decisions you take now that will shape the next generation. Choose carefully. Her influence on me is immeasurable.

As the only son of your family, how did growing up among sisters shape you?

Growing up with women can shape you in two ways—you either become extremely tough or extremely soft. You can probably tell which side I fall on. I fought many battles, often defending my sisters, until one day my father’s boss warned him: “Train this boy; he’ll get badly hurt one day. He must learn the principle of standing alone.”

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That advice led me into early boxing and taekwondo, which taught me discipline, emotional control, and self-defense. At home, I wasn’t even allowed in the kitchen. That was part of the Eastern cultural belief system. My biggest regret today is not learning to cook.

When I left home, that became a real problem. I had to rely on others, sometimes even begging women to cook for me. Who knows what was put in my food (laughs) So, I always advise people to teach their sons how to cook. It’s a vital life skill every man should have.

You’ve played a range of characters over the years. What influences the choice of roles you take on?

I believe an actor should be open to interpreting a wide range of characters. In early Hollywood, typecasting was a thing, but thankfully, that era has passed. Interestingly, 90 per cent of the laurels and trophies I’ve received came from “nice guy” roles; not violent ones. People often assume we (actors) are the roles we play, but they rarely see the sensitive side— the deep person who can hold conversations on any subject under the sun.

My choices are influenced by my belief system, which is deeply rooted in God and fortified by my upbringing. When you play a character so well that people believe there’s a piece of you in it, that’s when you’ve truly succeeded as an actor.

What influenced the title of your latest movie, ‘Sin’?

The title is deliberate. Sin reflects the current global state of affairs. If anyone has ever wondered what “Sodom and Gomorrah” looked like, look around; we’re living in it. Everything described in that era is happening again.

We often sweep these things under the rug because we’re busy chasing dreams, watching football, or binging Netflix. But right before our eyes, there are drug epidemics, social experiments like lockdowns, and moral chaos.

Sin is a satire, a mirror to the life we live but refuse to confront. I don’t want to make slapstick films that only release dopamine. I want to create films that make you think, shift paradigms, and spark conversations about the order of life we exist in. It is an eye-opener. It hasn’t left the top three spot on Amazon Prime, and I’m very proud of that. It was a three-month production shot across three countries.

What advice do you have for young men who admire your craft?

Don’t look at Jim Iyke; look at yourself. To replicate another man’s journey is the wrong road to take. Everyone’s path is different. My successes, failures, and discoveries are not yours.

When I emulate, I don’t look at the person; I look at the substance of their life. Some pursue acting to feed their families, some see it as a divine calling, others as a stepping stone. Whatever it is, find your truth. Do it for the right reasons, because when everything else fails, it’s that truth that will sustain you.

Do you have any plans to revive your music career?

Doing music was a regrettable experience; not in a bitter way, but in a humbling one. At that point in my life, it was just fun. 2Baba and I had a great time with it. For me, it was a dare, a phase when I thought I could do anything.

God allowed it, but He also humbled me. I could have built a career from it, but I would have ended up as one of those mediocre acts still stumbling along because their early hits were just good enough to keep them afloat. That’s not me. I know my limits.

I don’t live with regrets though; only lessons and triumphs. Music gave me a glimpse into another world, and I enjoyed it. But when the fever calmed, I knew it was time to return to what I díd best.

Will I ever be a music executive? Absolutely. No experience is wasted. I can sign an act today, and no one would tell me I don’t understand the business.

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You’ve often spoken about your experience at the Synagogue where you seemingly fell into a trance. Looking back now, how does that experience make you feel?

I don’t want to dwell on that, and I’ll tell you why. It came with so much pain and disappointment. I only went there for my mother, and she has since passed.

Life gives us highs and lows. When you pass through your lows, you take the lesson, put it in a box, and tuck it away in your mental archive as a path never to walk again. Bringing it up now only stirs despair and bitterness. And my mother— the reason I went there— would never want me to live in that space.

Even the person I once felt antagonism toward is gone as well. So, what’s the point of holding on? I’ve let it go.

How would you describe your relationship with Gideon Okeke, who has constantly called you out online?

I don’t acknowledge it as a problem. If I ever recognise it as one, I’ll solve it. I don’t waste energy on things that don’t concern me. If anyone wants resolution in a place of logic and manhood, I’ll be there. I’ll state my grievances; listen, and resolve it. But I will never meet anyone in the court of public opinion. That space is a circus. It’s for entertainment, and I am not wired to be entertainment. I leave that to clowns.

Your message to Kate Henshaw on her birthday recently caused a buzz on social media. Why did you write it?

I have never looked at life the “normal” way. I live and express myself intensely; whether in laughter, friendship, love, or even hate. My ode to Kate was exactly that: an honest expression to someone I’ve known for over half my life. As a teenager, when I was hungry, she gave me money for food, made sure I got home safely, and guided me. She’s more than a friend; she’s a big sister and someone very special. Why would I not celebrate her?

Two hundred people read that poem. One hundred and seventy found it offensive or disrespectful. But the one person it was written for came online, hugged me electronically, blessed me, then called me for an hour-long conversation. I also sent her a beautiful gift; one many of my critics may never receive in their lifetime. So tell me, why should those 170 people matter? Too many people waste energy trying to be liked by strangers who don’t count. I don’t. I’ve been misunderstood all my life; why should it bother me now? I’ll keep doing what I want, whether it’s writing for Kate or penning a similar piece to the president tomorrow. Those who matter will understand; the rest need to upgrade their brain cells.

How long did it take to pen that “ode”?

Fifteen minutes. Writing is one of my strongest skills, perhaps even greater than my acting. It’s always been a deep passion, though acting took the spotlight. Yes, people often misunderstand my writing, but I no longer care. In the past, maybe it bothered me. Now, if anyone misinterprets my expression, I don’t owe them clarification.

How has your role as a father affected your life, career and relationships?

I am what you’d call an unorthodox father. I stand between the strictness of our fathers’ generation and the overly soft style of today. My children are not afraid of me in a way that prevents them from being open. I’m their father, friend, and sometimes big brother; but they also know that parenting is not a democracy. Leadership sometimes requires dictatorship.

Our parents were dictators, and we turned out resilient, able to face hardship. On the flip side, this modern overindulgent style has raised a generation that crumbles at the slightest adversity. My duty is to instill independence, resilience, and survival instincts. But, also compassion, emotional intelligence, and respect. That balance cannot come from one parent alone. That’s why I believe neither single mothers nor single fathers are fully equipped to raise complete men. Both masculine and feminine energies are needed for balance.

As a divorcee, how do you ensure that your children get that balance?

Divorce doesn’t change my role. Children don’t listen to words; they copy actions. My son mirrors me— how I dress, sit and even speak. That’s why I’m deliberate about the life I live. I avoid unnecessary drama in the media because I know he will soon access everything I’ve ever done. I want him to see a man of restraint, not a man consumed by battles.

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Sure, I could respond to insults online or match words with words; even break bones if I wanted to. But I don’t. I’m accountable to someone greater now— my son. He must look at me and see a man who won the war, not someone distracted by petty fights. My parenting order is simple: presence, example, sacrifice, and resilience without excuses.

Do you have plans to remarry?

No. I’m very clear about this: I took full responsibility for that union. She’s a great person, and I’m a great guy. But marriage and fame together are tough, so you must be intentional. Sadly, ours happened at my lowest point; just after I lost the most important person in my life (my mother). There were cultural differences and racial tensions; not just from strangers but sometimes even within the family structure. It drained me.

Eventually, the marriage ended, but we stayed friends. Today, we’ve built something rare— a great post-divorce family. My ex still picks me up from the airport sometimes, even with her new partner, and comes to me for advice. That’s intentional, because our child didn’t choose to be born. He deserves stability.

Don’t you get jealous or bitter seeing her with someone else?

No. Bitterness is useless. If I cut her off completely, she could end up with someone who mistreats my son, and that would haunt me forever. But her partner is a good man. Instead of jealousy, I see my son as blessed with two fathers.

We have different parenting styles. Her partner is a pleaser; the easy-going liberal type. I’m the disciplinarian; the one who teaches resilience and perspective as a successful black man navigating the world. Together, my son gets balance. He’s one of the happiest, most grounded kids I know.

What’s your favourite food?

My taste is global. I have lived in four countries and picked favourites everywhere. It changes constantly, so I can’t pin down just one.

How do you ease stress and relax?

God. Worship is my sanctuary. While others party on weekends, I play gospel music and roll on the floor asking for mercy. That’s my happy place— giving thanks to the One who brought me out of tunnels and defended me when I couldn’t defend myself.

After that, I love travelling. At the age of 26, I backpacked across 15 countries in Europe with a Swedish-German partner.

Having travelled widely, what changes do you think Nollywood needs at this stage of its evolution?

Consensus. Right now, the YouTube culture has everyone chasing their own corner with mixed-quality content. It’s chaotic. Worse, Netflix and Amazon have pulled back because of our missteps, and that should alarm us. Every five years, Nollywood finds itself back at square one.

What we need is government support. Look at California (United States): they invested in talent, created protective laws, and now, their creative industry is one of the richest in the world. Nigeria must invest in human resources, not just oil. Entertainment already contributes massively to GDP, so why ignore it? With AI, green energy, and alternative tech rising, we can’t afford to lag behind. What we need is structure, policy and vision.

What are you most grateful for?

Life itself. I don’t question where the wind blows me, because I trust my Maker. Place me anywhere, I will excel; not because of humans, but because of God.

What influences your fashion choice?

My fashion is drip, sense, swag; whatever you want to call it. However, style is different; you’re born with it. I got mine from my dad and his Lebanese business partner. Both were sharp dressers. Fashion can be bought with money, but style is innate.

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Lifestyle

Why Do Some People Hate Being Corrected?

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Some people can accept praise without a problem—but the moment you point out their mistake, everything changes.

You bring facts, they bring anger.

You try to explain, they become defensive.

You calmly point out that they may be wrong, and suddenly you become the problem.

But why?

For some people, being corrected feels like an attack on their intelligence, authority, or pride. Instead of seeing correction as an opportunity to learn, they see it as an attempt to embarrass them.

And let’s be honest: nobody knows everything.

Even intelligent and experienced people make mistakes. The ability to listen, reconsider your position, and admit when you are wrong is not weakness—it is a sign of maturity.

At the same time, correction should be done with respect. There is a big difference between helping someone understand their mistake and deliberately embarrassing them in front of others.

The real question is:

Do people hate being corrected because of pride, or because they genuinely believe they are right?

And another question:

How do you react when someone points out that you are wrong?

👇 Share your opinion in the comments. Let’s have an honest conversation.

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Parental Trauma vs. Outside Trauma: Which Hurts Children More?

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A child can survive many difficult experiences—but what happens when the person causing the pain is the same person they expect to protect them?

This is a question many families may not want to discuss.

Trauma from outsiders can come from bullying, relatives, teachers, friends, or other people. It can damage a child’s confidence and leave emotional scars for years.

But parental trauma can feel different.

When a child repeatedly experiences humiliation, rejection, harsh insults, neglect, constant comparison, fear, or emotional abuse from a parent, the child may begin to question their own worth.

The painful irony is that the child may still desperately want the love and approval of the person hurting them.

But here is where the debate gets complicated:

Is parental trauma always worse than trauma from outsiders?

Or can an experience involving an outsider be just as devastating—or even worse—depending on what happened and how long it lasted?

🔥 THE NEWSBREAK365 QUESTION:

Which one do you think hurts children more?

🔴 PARENTAL TRAUMA
🔵 TRAUMA CAUSED BY OUTSIDERS

Don’t just choose one.

Tell us what you think and explain your reasons. 👇

Someone reading your comment may see their own childhood experience differently.

What do you think?

#NewsBreak365 #ChildhoodTrauma #Parenting #ParentingDebate #FamilyMatters #ChildProtection #MentalHealth #AfricanParents #NigerianParents #LetsTalk

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Tunde Kelani reveals why he is still passionate about filmmaking

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Veteran filmmaker and cinematographer, Tunde Kelani, discusses with VERA ALKALI about his career and current trends in the industry

You have had an extraordinary journey in the film industry. Can you take us through the highest and lowest moments of your career?

You cannot just say the highest moments because that is a jump. I joined the industry at an early age. I had uncles who were already in the industry, but I also grew up in a community in Abeokuta (Ogun State) where I was exposed to different forms of culture and oral traditions.

As soon as I could read and write in Yoruba, I took off from there. Abeokuta is a meeting point of culture, and my experience started from there. I could read to my grandfather, and we learnt English alongside Yoruba. I was able to compare what I learnt from social studies with what I learnt through Yoruba culture.

That was how I started. Later, I went into photography and eventually moved into motion pictures. I was employed by Western United Television, where I was trained primarily as a film cameraman.

I later attended the London Film School for the artistic and technical aspects of filmmaking. When I returned, I worked in television for one or two years before becoming an independent filmmaker.

From that point, I began to see films by people such as Professor Wole Soyinka, Bandesola Oru, Rasheed Onikoyi and Hubert Ogunde. I had known some of these people and had seen their works on the big screen.

Before then, I was already a film enthusiast. I practically saw all the films that came into Lagos and were shown in some of the theatres at the time.

On the high side, I think I chose the medium of cinema particularly to promote, preserve and document the rich Yoruba culture.

I have benefited from global cinema, including Hollywood, Japanese, Indian, Italian and European cinema, but people often ask me, “What is your style?” I tell them my style is unique. Having benefited from global cinema, I am still impressed by the Yoruba acting tradition.

I have seen people such as Kola Ogunmola and Oyin Adejobi. Those were my coaches. I also had many mentors, and that became my take-off point.

You mentioned being influenced by Hollywood, Japanese, Italian and other cinemas. What cultural differences or shocks did you experience in filmmaking and cinematography?

I think global cinema is about identity. You just know it. When you see an Indian film, you know it is Indian. When you see a Japanese film, you know it is Japanese. When you see a South Korean film, you know it is South Korean.

When you see me as a Yoruba man with my abetiaja cap on, you know that is our signature.

You have worked as a cinematographer, director and producer. Which aspect of filmmaking would you say is your favourite?

I trained for two years at the London Film School. The course specialised in the Diploma of Art and Technical Filmmaking.

Primarily, I am a storyteller. I share my experiences, our culture and our history, but I use cinema as my vehicle for dissemination.

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You are a Yoruba man and have made films that strongly reflect Yoruba culture. What does it mean to you to convey your messages in Yoruba and preserve the culture through film?

That is my whole being. It is my essence. It is my culture and language.

I am an advocate for indigenous cultural expression, and I believe Nigeria should be united in diversity.

Our films are not displaying enough of that diversity. We have more than 300 languages, but we hardly see movies depicting these different cultures and languages in Nigeria.

As someone who is committed to indigenous storytelling, how do you decide which stories are worth telling?

My works are classified. Most of them are adaptations from literature. ‘Oleku’ and some of my works were written by authors such as Femi Osofisan and others.

Most of the films I make are adapted from texts. So, I work more from text to screen because of my background. I have read works by many of these authors.

Some are classified as ‘conscience drama’ because they are films that explore socio-political themes. ‘Saworoide’, ‘Arugba’ and ‘Campus Queen’ are examples of socio-political films.

What attracted you to bringing literature to the screen?

I was born in Lagos, but my father decided that I should be brought up in Abeokuta. I was taken to the family compound. I missed my mother, but I had a lot of people around me catering for me.

However, I felt lonely. As soon as I could read and write, I found reading to be a comfort, and a form of escape At that point, literature got stuck with me, and I learnt how to use it.

It is difficult for filmmakers to pick a favourite among their works, but if you had to choose one, which would it be?

All my works give me satisfaction and recognition. They also came with equal amounts of ups and downs because making a successful film is very challenging.

But my latest film, ‘Cordelia’, is my favourite.

Can you take us through the making of Cordelia?

‘Cordelia’ is adapted from Femi Osofisan’s novel of the same title, and I had kept the project for years.

In fact, I was going to make it before ‘Maami’ (which was released in 2012). When I got to Femi Osofisan and we discussed it, he wondered why I was interested in it. He went in and brought ‘Maami, but I insisted that I wanted ‘Cordelia’ at the time.

About three or four years ago, I received visitors from the University of Delaware in the United States. The music department wanted a sort of cultural fusion. They said that if we made the soundtrack for the film, they would orchestrate it in the United States.

I was interested. They were asking for an old film from me, but I said, ‘No, we would do a new film.’

I told them about ‘Cordelia’ and explained that it was the new film we wanted to make because the story could inspire a solid musical score. It is so dramatic that it can inspire a strong musical composition.

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When you compare filmmaking today with what obtained in your early days, which era do you feel more connected to?

It does not matter because I have worked with all the new technologies of making motion pictures.

Recently, I completed an experiment in a small studio which I call “Studio Lab”, where I combined all the known technologies of making motion pictures, including physical sets, green screen, traditional props and everything else.

I have also added digital cinema cameras and artificial intelligence. So, it combines all of them.

What is your view on artificial intelligence and its growing role in filmmaking?

Artificial intelligence is everything, but just like when computers came and they added sound cards and graphics cards, I knew it was going to come into motion picture production.

I started early. It is the same thing with any technology that comes along. I embrace it.

We should embrace technology, but it should not replace our culture or our language. We should be in control and not let it tell our stories for us.

How do you blend artificial intelligence with Yoruba culture and other indigenous cultures?

Artificial intelligence technology is already a tool. Most of the time, if we are making a movie, our script is written in English. Later, we indicate the dialogue in Yoruba.

Filmmaking is a collaborative medium. You can have 150 people working on a film, and most of them may not be Yoruba.

You document, organise the group and use everything that technology provides. The technology is the tool, but the product becomes whatever you want it to be.

There has been an emergence of more Nigerian movies in cinemas. Do you think contemporary directors and producers are doing enough to preserve Nigerian cultures?

We have gatekeepers; I mean those people who fund movies. They are not necessarily interested in cultural preservation. They want to invest in a business, recoup their money and make a profit.

So, it is business. You can make a movie that they do not think will sell well, and that becomes a challenge.

The world is rapidly changing, and people’s tastes are changing as well.

I consider myself a “techie”. Even with all my experience with technology, I am still surprised by how many things you can do with a smartphone. Today, I lectured with my smartphone.

That is what technology is all about. We have witnessed similar things with the advent of video games and mobile phones, and now we are talking about artificial intelligence. These are all tools.

You recently received an award from the Nigerian Academy of Letters. Did you expect this kind of recognition when you were starting out?

I never really set out with recognition in mind. I was simply passionate about what I was doing. From photography to cinematography, advertising, music and everything else I got involved in, I was driven by the desire to create and communicate.

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I had stories I wanted to share with people, and that was what occupied my mind. I wanted to use whatever medium was available to me to tell those stories and connect with people. I was more concerned about the work itself and how best I could express what I had in mind than about whether anybody would recognise or reward me for it.

So, awards were never the motivation. They are certainly appreciated, and I am grateful whenever my work is recognised, but when I was starting out, I was not thinking about receiving awards many years later. I was simply following my passion, learning along the way and trying to tell stories that I believed were worth telling.

If you are passionate about what you do and remain committed to it, recognition may come, but it should not be the reason you do the work.

Many young filmmakers and creatives look up to you. What is your advice to them?

Number one, it is about passion.

You have to be passionate about what you are doing. If you are not passionate about it, it becomes very difficult to sustain yourself, especially in a creative field where you will face many challenges, disappointments and moments when things may not go the way you want.

In fact, my case is different. I am not supposed to be known because I am the person behind the camera. I am not a star. My job has always been to help tell the story and make sure that the story gets across to the audience in the best possible way. I have always been comfortable being behind the camera and allowing the work to speak for me.

For young filmmakers, I would say they should not be in a hurry to become famous. They should concentrate on learning their craft, understanding the medium and developing their own voice. You must be willing to learn continuously because filmmaking is changing all the time. The technology changes, the platforms change and the way people consume stories changes, but the fundamental need to tell good stories remains.

They should also understand that there are many different roles in filmmaking. You do not necessarily have to be the person in front of the camera. You can be a cinematographer, editor, writer, sound designer, production designer, director or work in any of the other areas that make filmmaking possible. What matters is that you find the area where your passion lies and develop yourself in it.

For me, the most important thing is to remain committed to the work. Fame and recognition may come, but they should be secondary. If you have passion, discipline and a story to tell, keep working at it. Eventually, the quality of your work will speak for you.

Source: punchng.com

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