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Royal rumble: Inside power struggle rocking Oyo Obas’ council

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After a nearly 15-year hiatus, Oyo State Governor Seyi Makinde reinaugurated the Oyo State Council of Obas and Chiefs. Rather than signalling a calm restoration of tradition, the event reopened old wounds, reignited long-standing rivalries and laid bare deep fractures within Yorubaland’s royal hierarchy. At the heart of the renewed tension lies a familiar and unresolved question that has haunted Oyo State for decades: who truly leads the traditional order? LAOLU AFOLABI writes

The traditional institution predates Nigeria’s present civilian administration, rooted firmly in history, custom and long-established norms that emphasise the hierarchy of stools. Authority within the system is neither arbitrary nor symbolic; it is defined by lineage, precedent and centuries of cultural practice. In Oyo State, this sense of order has always rested on the acknowledged preeminence of certain stools over others.

Before the creation of Osun State, this hierarchy often played out as a contest of supremacy between the Alaafin of Oyo and the Ooni of Ife. Both traditional stools drew on history, mythology and political influence to assert primacy within the Yoruba traditional order. When Osun State was carved out in 1991, it was widely believed that the rivalry would naturally subside, with jurisdictions clearly separated and the question of supremacy settled.

Instead, the issue refused to fade. What many expected to die a natural death gradually evolved into a national talking point. Decades after the split, disputes over superiority within the traditional hierarchy have persisted, fuelling rival claims and casting a long shadow over royal institutions in Oyo State.

Governments and royal minefield

Both military and civilian governments have, at various times, been compelled to intervene in disputes within the traditional institution, often acting with extreme caution. Such conflicts have repeatedly proved to be political banana peels, tripping up administrations and leaving lasting controversies in their wake.

Under the military administration of Major-General Adeyinka Adebayo in the then Western State, the government was forced to navigate a series of crises before eventually resolving the coronation of Oba Lamidi Adeyemi as the Alaafin of Oyo. Similarly, another former military governor, Colonel David Jemibewon — as he then was, before retiring as a Major-General — had to tread carefully while intervening in the crowning of the Olubadan of Ibadanland and the Soun of Ogbomoso in 1976.

In his book, “A Combatant in Service,” Jemibewon detailed the heated agitation for beaded crowns for both monarchs and how he was eventually able to resolve, through restraint, wide consultations and consensus-building. He recalled the bitter rivalries and the controversy generated, particularly between the Alaafin and the Soun of Ogbomoso.

He stated, “I proceeded with my inquiries and investigations by travelling to Oyo and Ile-Ife to seek the advice of the Alafin of Oyo and the Ooni of Ife on this burning issue of traditional importance. In retrospect, I cannot remember the frequency with which I shuttled between Oyo and Ile-Ife – but it must have been quite considerable – to ensure that I left no stone unturned in my anxiety to preserve the custom and tradition of the Yoruba people while at the same time fulfilling the aspirations of the Ibadan people.

Alaafin of Oyo, Oba Akeem Owoade. Credit: Palace Media

“Another step I took was to place the issue before the Council of Obas and Chiefs and to ask for their advice and recommendations. Having received the blessing of this august body, I proceeded to table the matter before my executive council. On approval being obtained, I had no further hesitation in conveying to the Olubadan permission to proceed with the ceremony and celebrations of wearing a beaded crown.”

With the successful negotiation and statesmanship displayed by the military governor, the then Olubadan, Oba Gbadamosi Adebimpe, became the first Olubadan to wear the beaded crown in 1976. Jemibewon also successfully resolved the rift between the Alaafin of Oyo and the Soun of Ogbomoso, consulting leading monarchs across the state and resisting attempts by political actors to derail the process. At the end, both the Soun and the Olubadan were ultimately approved to wear beaded crowns.

With the Ooni out of the picture in the Oyo State issue, the rivalry between the Alaafin, on one end, and the Olubadan and the Soun on the other, continued to intensify by the day. Alaafin, who assumed the position of permanent chairman of the council after Ooni’s exit, had to deal with agitation from the Olubadan and Soun over the rotation of the position.

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How Alaafin throne lost permanent leadership

For decades, the Alaafin of Oyo was the permanent chairman of the Council of Obas and Chiefs — a position anchored in the political and military dominance of the old Oyo Empire. However, there was a new arrangement introduced in 2004 by ex-Governor Rashidi Ladoja (now Olubadan of Ibadan), who decentralised the council into zones. Another former governor, Adebayo Alao-Akala (now late), restored Alaafin’s leadership in 2007 when he assumed office. But that did not last long. The story changed in 2011, during the twilight of the administration of late Governor Alao-Akala, when a rotational chairmanship was introduced among the Alaafin, the Olubadan, and the Soun of Ogbomosoland.

The reform was officially framed as a reflection of post-empire realities and an attempt to reduce perceptions of domination. However, critics alleged that the move was a vindictive act against Alaafin for failing to support the governor’s second-term ambition.

The amendment elevated some traditional rulers and redefined roles that had long been settled by custom, provoking resistance from factions who viewed the changes as an affront to history and hierarchy.

Official correspondence at the time indicated that the chairmanship would rotate every two years, with the late Olubadan, Oba Samuel Odulana Odugade, assuming chairmanship. The late Soun of Ogbomoso, Oba Oyewunmi Ajagungbade, was scheduled to assume the position in May 2013, while the late Alaafin, Oba Lamidi Adeyemi, was to assume chairmanship in May 2015. The order was Olubadan- Soun-Alaafin.

But council meetings soon collapsed. When the council was first convened under the new legal framework, shortly after the late Governor Abiola Ajimobi assumed office, what should have been a ceremonial gathering degenerated into chaos, with heated exchanges and physical confrontations, forcing the meeting to end abruptly. That was the last time the council was convened.

That moment of fisticuffs did more than disrupt a sitting; it froze the institution itself. The council slipped into a prolonged hiatus, its chambers silent as lawsuits piled up, tempers hardened, and rival royal camps entrenched their positions.

Council suspended, institution paralysed

The immediate spark for the suspension came from the Oyo State Government’s decision to halt monthly meetings of the council, citing a pending court case. In a letter sighted by The PUNCH and signed by the then-Secretary to the State Government, Akin Olajide, addressed to the Alaepata of Igboho, Oba Johnson Oyeyiola, JP, the government said the suspension was necessary due to a pending court case. Other members of the council, as it was then constituted, got their copy of the letter.

The case, filed by the Alaafin of Oyo and other traditional rulers, challenged amendments to the Council of Obas and Chiefs Law. The suit (HOY/32/2011), which has lingered at the Oyo State High Court since 2011, questions leadership arrangements under the amended law.

The government said it was merely maintaining the status quo and respecting constitutional order until the court delivers judgment.

Beyond symbolism, the suspension had practical consequences. Promotions of traditional rulers stalled, as such elevations required council ratification before the governor’s approval.

It was not until Thursday, January 15, 2026, under Governor Seyi Makinde, that the long-dormant council was finally reconvened. Yet the reopening did not close old chapters. Instead, it revived unresolved grievances, reminding all stakeholders that, in Oyo State, questions of tradition, law and supremacy rarely remain buried.

2025 gamble and fierce pushback

In 2025, the Oyo State House of Assembly attempted to restore Alaafin as permanent chairman through a further amendment bill. That move was fiercely resisted, particularly in Ibadan and Ogbomoso.

The proposed amendments also sought to empower the governor to elevate some traditional rulers to bead-wearing Obas if the council failed to meet, a significant departure from established procedure.

Hitherto, only the council is empowered to deliberate and do the promotion, subject to the approval of the governor.

However, the inability of the council to meet due to litigations over the issue of permanent chairmanship had delayed several promotions to higher class and approval of beaded crowns for some thrones.

Traditional leaders and stakeholders from Ibadan and Ogbomoso argued that restoring permanent chairmanship would amount to historical revisionism. They insisted that after the fall of the Oyo Empire in 1837, power became more diffused, with Ibadan and Ogbomoso emerging as influential centres.

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Mogajis and palace representatives from the two towns issued coordinated statements rejecting what they described as an affront to equity. Rather than an overt alliance, Ibadan and Ogbomoso found common cause in resisting Alaafin-only leadership. Their arguments — cultural, historical, and political — resonated with lawmakers.

By May 2025, following the intense lobbying and petitions, the Assembly retained the rotational system. This followed the adoption of a report by the House Committee on Local Government, Chieftaincy Matters, and State Honours, chaired by Vice Chairman Bamidele Adeola.

The passage was not without a crisis, as members of the Assembly from the Oyo zone staged a walkout and refused to participate in the exercise.

Following the passage, the Speaker of the House, Debo Ogundoyin, confirmed one week later that the assembly had yet to forward the bill to Makinde for assent, amid mounting opposition from stakeholders.

An informed source within the Assembly disclosed that several petitions and letters were submitted to the Speaker’s office before the end of the workweek.

“We are still working on one or two things. We continued to receive petitions, letters, and reactions from some aggrieved stakeholders. Though the Assembly has completed its role, having passed the bill through the third reading, we can no longer deliberate on it unless the governor withholds assent and returns it with suggested amendments. That is now the only route for reconsideration,” the informed source had told The PUNCH.

Prior to the deliberation, the Olugbon of Orile-Igbon, the Vice Chairman of the Oyo State Council of Obas and Chiefs, Oba Francis Alao, had called for caution on the proposed amendment of the Chiefs Law. In a memorandum he submitted in 2023 at the public hearing by the House of Assembly on the proposed amendment, he noted that the amendment may be a recipe for unnecessary communal clashes and border disputes, pointing out that the proposal did not take the customs and traditions of the people into consideration.

Oba Alao cautioned against giving the governor unrestricted power to elevate traditional rulers and chiefs without recourse to the council.

Makinde’s intervention, unanswered questions

On Thursday, January 15, 2026, Governor Makinde inaugurated the council under the amended law passed by the state House of Assembly in 2025. The inauguration, held at the House of Chiefs in Ibadan, was notable for the absence of the Alaafin of Oyo, Oba Akeem Owoade.

The Olubadan of Ibadanland, Oba Rashidi Ladoja, emerged as chairman under a rotational arrangement. The governor said the chairmanship would rotate among the Olubadan, the Alaafin, and the Soun of Ogbomosoland, beginning with the Olubadan.

According to the governor, the arrangement was the outcome of consultations with the three first-class monarchs. However, Alaafin’s palace swiftly disputed that claim.

“There was no time that His Imperial Majesty held any meeting with either the governor or the two traditional rulers mentioned. The Alaafin did not endorse rotational chairmanship, as the position of Oyo was clearly outlined in a memo submitted by the Oyo Council of Elders,” the palace said in a statement signed by the monarch’s media aide, Bode Durojaye.

Compounding the tension was the manner of the invitation. A highly-informed source, who spoke on condition of anonymity because of the controversy over the issue, said the Alaafin received notice of the inauguration around 9:30 pm on January 14, for an event scheduled the next morning.

The source also told The PUNCH that many other monarchs confirmed the receipt of the invitation via WhatsApp at almost exactly the same time as claimed by the Alaafin.

Governor Makinde defended the inauguration, insisting that reviving the council was necessary for governance. He asked, “For 15 years, we have not had a Council of Obas and Chiefs. And if we don’t have a council, how do we play an active role as a state?”

The governor argued that division would have been the easiest option, but said his administration chose consensus instead.

But aside from the unresolved disputes over council leadership, the membership of the council remains in doubt.

A public affairs commentator, Adetayo Adekunle, asked pointedly: “Which law did the governor rely on? No one has seen it.”

According to him, no one can verify the membership of the council as it is constituted, according to the law. He said until the amended legislation is published and made available for public scrutiny, the council’s legitimacy will remain contested.

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Reports indicate that the bill passed by the Oyo Assembly had some inconsistencies.  For instance, in Afijio Local Government Area, the Akibio of Ilora, the Onifiditi of Fiditi, the Oniware of Iware, the Onimini of Imini and the Baale of Oluwaredo traditionally rotated membership of the council under the old order. However, the new bill passed by the House of Assembly reportedly made the Akibio of Ilora a permanent member, to the exclusion of the others.

In Oorelope Local Government Area, the Alepata of Igboho was a permanent member under the old order. Under the new arrangement, however, the position is to rotate among the Alepata, the Onigboho and the Ona-Onibode, all of Igboho.

Several long-standing members — including the Onijaye, Oniroko, and Onilalupon — were removed to accommodate the 11 Ibadan obas previously promoted by the late Governor Ajimobi and gazetted into law by Governor Makinde.

There have also been clamours by monarchs in Oke-Ogun and Ibarapa over the composition of the council. Their grievance is that, having made the leadership rotational, the same gesture should have been extended to them to give them a sense of belonging, as obtained in other states.

However, the issue remains that the bill, as signed into law by the governor, has yet to be clearly confirmed, even by members of the council. A quick interaction with some of the monarchs revealed that they were uncertain about the council’s membership composition as stipulated by the law.

A source in the House of Assembly, who preferred anonymity because he was not authorised to speak on the matter, said the bill was forwarded to the governor after its passage by the Assembly. The government has, however, yet to confirm or deny the publication of the law, as the Commissioner for Information and Civic Orientation, Mr Dotun Oyelade, and the Commissioner for Local Government and Chieftaincy Affairs, Mr Demola Ojo, were yet to respond to messages sent to them.

Tradition at a crossroads

The royal rumble in Oyo is not merely about titles or seating arrangements. It reflects enduring tensions between history and modern governance, symbolism and law, hierarchy and equity. While the Olubadan lays claim to authority over 11 local government areas and the Soun asserts jurisdiction over five, the Alaafin—who also advances a claim of preeminence—exercises influence over four local government areas.

File: Oba Ladoja

Some critics have argued that certain assertions by the new Alaafin have sparked controversy within the traditional institution across the country. A report noted that Alaafin’s self-description as the “superior head of Yorubaland,” as well as his altercations with several other first-class monarchs, had set him at odds with many traditional rulers.

A Lagos-based journalist, Remi Ladigbolu, defending the Alaafin stool, argued that debates over the Alaafin’s position in the council must be situated within a long historical context in which Oyo’s political influence was deliberately eroded by colonial and post-colonial decisions, without extinguishing the Alaafin’s cultural authority. While acknowledging Ife’s spiritual primacy, Ladigbolu maintained that Yoruba political evolution and statecraft were historically anchored in Oyo, making the Alaafin, alongside the Ooni of Ife, central to Yoruba civilisation.

He contended that councils of obas are political and administrative constructs whose leadership can rotate, but that cultural legitimacy is neither conferred by statute nor dependent on office. According to him, the Alaafin’s relevance does not rest on council chairmanship or statutory recognition, but on centuries of historical continuity, symbolism and collective memory that endure regardless of contemporary governance arrangements.

He, however, maintained that the new Alaafin requires wisdom, restraint, service and moral clarity, while also agreeing that traditional institutions must continually justify their place through leadership, example, community engagement and ethical consistency. Ladigbolu insisted that history does not expire; rather, it recedes or resurfaces depending on how societies choose to remember.

For now, the throne rooms remain calm. Yet beneath the beaded crowns and flowing agbadas, the contest for relevance, recognition and authority quietly persists.

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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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