Interview

By Oluwatomiloba Adejumobi  Some weekends ago, Moyosore Akinsete, the writer and director of Love, Olaitan and I had a conversation about her filmmaking journey and the production process of Love, Olaitan. I was sauntering through the restroom and corridor of the sparkling hospital while our conversation ensued. Our conversation lasted till I found myself moving along the buzzing road of Ikeja. We kept on while I savoured the beautiful scenery of Lagos and the alluring appeal of her story.  Spoilers ahead. Love, Olaitan, which premiered on the 15th of March, 2025 on the director’s YouTube channel, is a unique film embedded in silence and deep emotions. It tells the story of a father-daughter relationship, mixed with love, bond, grief, and sadness. A coming of age story, it’s centred on Remilekun(Kezia Abiaka), a girl who loses her mother at a tender age, bonds with her father (KelvinMary Ndukwe), and sadly, loses him afterwards. With the director’s use of objects like the cushion and journal, the past, present and future experiences of these actors are represented by these mementos. While the cushion represents an unforgotten grief and loss, the writings, embedded in the journal, carries hope and optimism. This short film communicates the difficulty in handling grief and moving on with life. On discovering her father’s journal, Remilekun reads the letter he had written to his late wife (her mother), embraces his healing words, and musters the courage to live again. The journal, serving as a link between life and death, becomes an integral object in the lives of these actors. Love, Olaitan richly captures the sad experience of death, the grief that follows, and the hope that reignites after in the lives of people.  Tomi: I have always known you as a Law student through your YouTube channel where you post law-related videos. Last year, surprisingly, I saw your film, Love, Olaitan at The Annual Film Mischief’s official selection. So, I’m curious to know, why filmmaking? Moyosore: Oh my God! That’s so sweet! I can’t  believe that. My YouTube channel?! Creating the videos was basically my cross through law school and I’m glad you enjoyed it. I didn’t suddenly make the decision to make films. It was something I evolved with. I’ve always liked storytelling but the medium which I expressed it has always evolved through time. Growing up, my parents never really allowed us to watch TV. My mom prioritised story books and I loved them a lot. I had a neighbor then that used to tell us stories and before I knew it, I would start to entertain myself by writing these stories. I pushed a step further beyond writing prose stories by gathering children in my house and I would have them act out these stories that were in my head. On Sundays, while people had gone home and my parents alongside other workers were still in church, I would gather the pastor’s and workers’ children, give them roles to act.  As a teenager, I got more into books. I was the girl who always had books in her hands. That was how I got through Model College. My best friend then, would watch films and gist with me about them. That was the only interaction I had with film until I got to the university where I earned a bit more freedom to watch what I wanted to watch; my parents didn’t dictate my media consumption as usual. Through the youth arm of my church in university—a campus connect—, I started a drama club with two of my friends and it grew into something big. I would write, direct, and produce. It was like an outlet for me. While I got through Model College reading books, in University, it was writing and directing stage plays. This experience comforted and nurtured me. It made the tragedy of being a Law student bearable and school worth living.  Prior to graduation, I knew I didn’t feel fulfilled studying Law. The drama club I created helped me see that I loved bringing stories to life. This prompted me to start watching more movies. After Law school, I decided to face filmmaking. Although I wrote scripts for my drama club, I came across the EbonyLife Screenwriting Department which I attended during my National Youth Service Corps (NYSC). I pitched a story that didn’t get picked. So I made the story myself. That’s how I sort of started making films. I went on from this to the next one. Storytelling has always been something I really enjoyed. It wasn’t something I thought to make a career out of. It just made life worth living for me. As a child, I never even said I was going to be a filmmaker. It was my love for storytelling that kept growing. It was never a moment of decision. I just grew into it. Tomi: I would say your childhood was really fun despite not having access to watch films. How did your close ones respond to your interest in filmmaking?  Moyosore: There was no marker of my being into filmmaking. It’s always just a process. It was like a slippery slope that I was going on. And I carried my close people with me. I remember telling my friends I was going for the EbonyLife Screenwriting course and they cheered me on. I don’t think there was a structured response. It was just that I was going on a journey. I don’t think that they were shocked. I wasn’t shocked. I think all of us were going through our journey and they were going on with me. Tomi: How did they respond to the recognition of your works? Moyosore: Most of my friends are not in film. They don’t really know anything about the recognition of the work. They really don’t understand a lot of things. If you’re happy, we are happy, that was the general response. The response has always been positive and encouraging from their end. Most of the promotions that went into

By Adejumobi Oluwatomiloba  Recently, Cheesemonger introduced a social media series tagged Firsts in collaboration with Film Rats Club. The intention was to provide a sort of minute historical insight into Nigerian filmmakers’ filmography, with attention focused on the first crew members they ever worked with. The question: Who was the first Cinematographer you ever worked with? was asked and there were enthusiastic responses from filmmakers.  Akinyosoye Elisha, was among some other filmmakers who responded to this thread. This prompted a brief conversation with the filmmaker to discuss his collaboration with his first cinematographer. Elisha, on his Twitter( now X) bio, describes himself as the Best African Actor. The producer behind Life Film Productions, a YouTube-based TV platform, he has produced movies reflecting the Christian faith. One of his notable works, Hostile Rage, a 27-minute short, speaks on the destructive nature of anger and its consequences on marital homes, especially spotlighting issues like adultery. Producing aside, Elisha’s page is subtly littered with monologues and acting reels—some produced by Nutcases, further revealing his remarkable acting talent. During this interview, he not only recounts his experience working with CrownMike Adewunmi, his first cinematographer on the production of Hostile Rage a short film,  but also highlights the silver lining and creative growth that come with such collaborations. He also mentions two other works they collaborated on: The Ransom, a feature, and also, a student film they had both directed in 2019.  On your collaboration with Crownmike Adewumi as your first cinematographer, you must have conceptualised a visual style and tone you wanted to achieve during the pre-production stage. What made you particularly work with this cinematographer? What set him apart from other cinematographers, and what made him your top choice for this project? Thank you! So before my first work with CrownMike Adewumi, I had seen links to his previous works on Facebook and some short clips. Watching those clips and projects on YouTube gave me a feeling of confidence that he was the right person for the project. It was a low budget production and he could achieve the aim with the kind of gadgets we had available, so it was an easy decision to bring him on the project. Also, we were both students of OAU ILE-IFE at the time, so we were near each other, so it was easier to work together. Were there moments where he felt constrained by your direction or felt like his creative input wasn’t being heard?  Did you ever find yourself imposing your ideas on him, or could you strike a balance between sharing your vision and giving him the freedom to contribute his ideas? Yes, we had quite a number of bent lines along the way, let me put it like that. But what made it easier to deal with was the fact that I was new in the job and he was more experienced. So I had to give in a number of times, although without compromising my idea of the project and vision. So sometimes, I had to let go of some things for his expert opinion, and he also had to let go of some things for my creative opinion. But I was always welcoming to ideas from him and other crew and cast members. That really saved us a lot of times during the project.  What lessons did you learn from his expertise, if there were any? One, it takes a community to make a film, you can never do it alone. Always be in good terms with your crew members, they can determine if your film will make it eventually or not. Your creative ideas will only come to life if you can make your crew and cast members understand the vision you see. Could you describe what sort of Cinematographer he was at that time, based on his previous works?  And how exactly would you say his style aligned with your vision? He was a budding cinematographer but way more experienced than I was at the time. He was very creative and could achieve anything with just little.  Did you have the opportunity to work with him again after the first production? Yes. We did a couple of projects afterwards. And in the future we’ll still do more. 

By Towobola Dada and John Orjiudeh Watching Moses Ipadeola’s Ekun Iyawo: The Tale of the Runaway Bride, we were captivated by its stunning visuals, masterful lighting, and thoughtful composition. This piqued our interest in speaking with Suara Olayinka, the film’s cinematographer. His work is a testament to his skill and artistry behind the camera. Eager to learn more about his creative process, inspirations, and experiences on the film, we scheduled an interview. Olayinka won the Grand Cheese Prize for Best Cinematography at TAFM24 for collaborating with Ipadeola on Ekun Iyawo: The Tale of the Runaway Bride. His approach to cinematography is remarkable, demonstrating a keen eye for detail, a deep understanding of visual storytelling, and a passion for translating complex emotions and ideas onto the screen. His body of work also includes Ayra Starr’s Bloody Samaritan, Chukwu Martin’s Oga Mike, and an array of short films, and music videos. We scheduled an interview with him to explore the creative decisions and processes that shaped Ekun Iyawo‘s visual landscape. In our conversation, Olayinka shares his insights on the making of Ekun Iyawo: The Tale of the Runaway Bride, from his initial reactions to the script to his experiences working with the cast and crew. He also reflects on his creative journey, discussing the inspirations and influences that have shaped his approach to cinematography. Through our conversation, it becomes clear that Olayinka is not only a talented cinematographer but also a thoughtful and passionate artist, dedicated to using his craft to tell meaningful and impactful stories. Thanks for joining us today! We’re excited to hear your insights and experiences as the cinematographer of Ekun Iyawo. When you first received the script, what were your initial thoughts? Did you feel excitement, curiosity, admiration, or see it as a challenge? I was excited. Every script, no matter how simple, comes with its own set of challenges—not problems, but unique opportunities to interpret the story in alignment with the director’s vision. For instance, if a character walks to the door, the question becomes: how do I visually translate that moment to serve the film’s intent? With Ekun Iyawo, the story had to evolve in a way that preserved its message without losing the audience. It’s a trad-fiction—a world where tradition and fiction merge—so world-building was essential to ensuring everything felt cohesive. We had to craft a reality that agreed with itself. Creating a new world is always exciting because it allows for visual experimentation, making the entire process deeply engaging. How did you conceptualize the visual tone and style of Ekun Iyawo? Were there specific films or visual references that influenced your approach, and if so, what drew you to them? The director’s vision shaped every shot. We had numerous meetings and calls where he clearly communicated his intentions, and my role was to translate those ideas into visuals that emphasized their meaning. It was a highly collaborative process—full of discussions that made everything feel both intentional and enjoyable. Every action was carefully pre-planned, allowing us to capture most shots in a single take. I also drew inspiration from experimental films, which continue to influence my approach to cinematography across all my projects. Lighting and composition are crucial elements in bringing a scene to life. Can you walk us through your thought process when it comes to matching lighting, composition, and camera movement to capture the mood and atmosphere of specific scenes in the film? The composition of each shot was carefully planned to serve a purpose—why capture this moment, and what is happening within it? When she was distraught, why was she there, and why was she doing what she did? The film stands out because of its emotional depth, and every shot was designed to ensure the audience connects with each actor on a personal level. Take, for instance, the love scene—we wanted viewers to feel like an invisible presence in the room, experiencing the characters’ pain firsthand. In another scene, a close-up was used to emphasize the protagonist’s realization that her tears stemmed from the heartbreaking decision to leave her lover behind. The actors fully immersed themselves in their roles, bringing these emotions to life. The actors went all out and the thorough preparation spoke to the choices made in composition.  We are curious about your working experience with Moses Ipadeola and the rest of the crew on Ekun Iyawo. What was it like collaborating with the director and the team?  I completely love working with Moses. Like I said earlier, he gives me the chance to be who I want. If I want a red light here, the moment I explain it to him, he is good with it, as long as it doesn’t distort his vision, and that’s a cinematographer’s dream. I would love to work with him again; I love the way he tells the story, blocks the actor, and makes everyone’s job easier. It was a wholesome teamwork.  What strategies or creative processes keep you inspired and help you bring your vision to life? Are there specific routines, influences, or techniques that shape your approach to cinematography? A director’s creative path is shaped by both nurture and nature—just as we recognize the signature styles of Quentin Tarantino, Christopher Nolan, or Kunle Afolayan. The same applies to cinematographers. There have been many times when colleagues have pointed out a shot and said, “That looks like your style.” At first, I questioned it, but as it happened more often, I realized my visual perspective—my way of seeing—was naturally defining itself. Everyone perceives the world differently; even our retinas are unique. As a cinematographer, the challenge is to ask: How do I uniquely see this?—and trust that vision. Some may say a shot isn’t “right,” but often, that just means it isn’t conventional. That’s precisely why I feel the need to execute it so well that it convinces you. When that happens, the creative barrier is broken. As the saying goes, “Almost never kills a bird.” You have to fully