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

by Towobola Dada and John Orjiudeh Moses Ipadeola is the creative force behind Ekun Iyawo: The Tale of the Runaway Bride, a critically acclaimed short film that has captivated audiences with its depth and artistry. Watching the film, we couldn’t help but feel a profound sense of admiration for the mind behind its stunning visuals and compelling narrative. Ipadeola’s work is making waves in the film industry, not just for its technical excellence but for its intimate and nuanced portrayal of Nigerian culture. His commitment to storytelling as a vehicle for cultural preservation and exchange is truly inspiring. Whether exploring themes of identity, community, or social justice, Ipadeola’s films are infused with a deep love and respect for his heritage. His dedication to showcasing the richness of Nigerian traditions sets him apart. From the vibrant colors and textures of his cinematography to the complex, multifaceted characters that drive his narratives, Ekun Iyawo stands as a testament to his growing mastery of the craft. Given the significance of his work, we were eager to learn more about Ipadeola’s journey, inspirations, and creative process. Speaking with him (however brief) was an honor—his passion, intelligence, and generosity of spirit were evident in every word. We were struck by his thoughtfulness, humility, and willingness to share his insights with others. Moses Ipadeola is more than a talented filmmaker; he is a true ambassador for Nigerian culture and a champion of storytelling’s transformative power.  For Moses, storytelling has always been more than just an interest—it’s a calling. From his school days to his NYSC, he has remained deeply committed to honing his craft. He credits his growth to continuous self-improvement, saying, “I’ve been reading books, sketching, and refining my skills in movie production and other creative fields.” While at university, Moses trained in other aspects like sound mixing and production. This experience sparked his interest in music, eventually leading him to produce sound for a film—an expansion of his artistic expertise. He views his versatility as a divine gift, enabling him to excel across multiple creative disciplines. As he often says, “No knowledge is ever wasted,” a philosophy that fuels his commitment to lifelong learning—not just for career growth, but to enrich his understanding as a filmmaker. Deeply rooted in Pan-Africanism, Moses sees his work as a tool for inspiration and education rather than provocation or confusion. “I want my films to captivate audiences, drawing them into a deeper appreciation of the cultural heritage that shapes them,” he explains. Congratulations on Ekun Iyawo! The film has been making waves, winning Best Cinematography and the Audience Cheese Prize at TAFM 2025, along with 8 nominations at the Film Joint Award 2025, where it took home 4 awards. How does this success feel? Thank you, Cheesemonger, for this interview. I feel truly blessed and grateful for the opportunity. Documentation is essential for growth in our industry, and I deeply appreciate the recognition. As an independent artist, acknowledgment can be rare, so this serves as a meaningful confidence boost—I thank God for it. Ekun Iyawo’s premiere in Nigeria and London was a major turning point. Winning the Best Cinematography award further affirmed that our hard work had paid off. From conceptualization to visualization, I always believed the film was destined for success. It was carefully refined by a team of passionate filmmakers who ensured that only the most impactful elements remained, allowing the core message to resonate with the audience. Our ultimate goal was to make the story clear and accessible, and I’m grateful we achieved that. When did you know you would become a storyteller, how did it start? From a young age, I was always sketching and creating storybooks, instinctively drawn to visual storytelling. I knew I had a talent for drawing, and despite my parents’ hopes that I would study law, my passion for art remained unwavering. At 13, I began training under Uncle Wale, my mentor in drawing, while still in secondary school. Balancing my artistic pursuits with academics, I initially planned to study fine arts but eventually found myself at the University of Ibadan, where I majored in Directing and Stage Management within the Theatre Arts department. Looking back, it’s clear how everything started falling into place. How did your cultural heritage shape your approach to filmmaking, particularly with Ekun Iyawo? What inspired you to tell this story, and what message do you hope the audience takes away? I grew up in the military era and got my butt kicked by soldiers sometimes. This environment influenced my childhood whether I liked it or not. Also, I grew up watching the films of Tunde Kelani, as I grew wiser, I was exposed to the works of Wole Soyinka, Femi Osofisan, and enjoyed the mentorship of Tunde Awosanmi, my lecturer at the University of Ibadan. Through these works and exposure, I saw how every work of art needs the director’s unique critical input. This inspired my interest to experiment with a concept I coined – Trado-Fiction, which focuses on traditional folklore. During my Masters program at the University of Lagos, I also studied psychoanalysis and the “Orunmila Ifa Corpus.” All these have shaped my approach to Indigenous storytelling. My cultural heritage has shaped my storytelling, and “Ekun Iyawo” is a reflection of this. I hope audiences appreciate the film’s nuances and take away their own unique messages. Western culture often prioritizes therapy while overlooking the ancient wisdom of Ifa and Orunmila, you can also find this execution in my first attempt at creating this “Trado-Fiction (Ifa Therapy). As a proud Owu boy from Ogun State, I feel deeply responsible for sharing my cultural heritage through storytelling. My goal as a filmmaker is to stand out by authentically representing my roots, not by imitating Hollywood or Bollywood. I want my work to celebrate and preserve the richness of our traditions, ensuring they remain relevant for future generations. We’re eager to learn about your approach to helping the actors embody their characters and bring their roles

If it’s not too late, happy new cinematic year. This is the year where we watch more films, make more film-related strides, and importantly hold more conversations around the art and business of filmmaking. In keeping with the Film Rats Club’s longstanding commitment to curating meaningful conversations about Nigerian and global cinema, we launched the Dialogue Series within the Film Rats community. Our first guest of the year is none other than a fellow Rat, Unique Oliver. Oliver has a unique portfolio as a lawyer turned Music and Entertainment Executive serving as the Music Supervisor and Licensing Lead at Spring Sound Ltd. Here he leads the company’s Music Supervision and Licensing division, delivering tailored music solutions for Film, TV, Reality Shows, Games, and New Media projects. Over his career as Nollywood & Afrobeats Go-to Music Supervisor, he has successfully negotiated and delivered on high-profile projects including Amazon Original Christmas in Lagos, Amazon’s TV reality series Ebuka Turns Up, Africa, Adire, The Uprising: Wives On Strike, and more. Outside the film industry, he has licensed music from Afrobeats superstars like Davido, Rema, Flavour, Omah Lay, Femi Kuti, Adekunle Gold, Ayra Starr, and other A-list artists.  In this conversation, moderated by Seyi Lasisi with contributions from fellow club members, we explored the art and business of sound, Unique Oliver’s observations on the industry, and his recommendations for its growth. For those who don’t know you, can you describe yourself and what you do? For a one-liner, I’m a music supervisor and licensing specialist for media (film, TV, games etc). With an interesting background in the music industry and as a music creative. My hustle simply involves making the best music available for a typical media or film project. I love everything that interacts with music. Whether it’s film, games, mobile applications, advert, etc. just use music, and let’s talk about money. My typical day will be with a glass of water on my laptop and researching the best Afrobeats song that can meet my client’s budget. You casually described your daily routine already. But, how much music do you listen to and how does this inform your work? I can’t really count because it’s not just random listening on a music streaming app even though I do this when I’m looking for a specific vibe to use. For me, it can be listening to my neighbor’s playlist in the morning, to swiping Instagram stories in the afternoon, surfing TikTok in the evening to capture trending music, then hitting the gym at night to study people’s music playlists or just hearing the DJ to Shazam those songs that give that “you know” vibe. What has this hunt(permit me to call it that) taught you about the listening palate of Nigerians especially as it relates to your line of work? Not all Afrobeats songs are about money, drugs, women, and body parts. It’s just your POV as a listener. Interesting. How handy is this information in making informed decisions while dealing with a filmmaker? It’s very handy for us because we are always limited by budget and have to find the next available song that can work for the scene. When we receive the scripts we study the setting of the movie in terms of location, year/era, major characters, and what will be the typical soundtrack for these characters based on their role in the movie so we can always suggest options when the filmmaker most preferred option is above budget. Filmmaking isn’t just about action and visual storytelling. As someone who has observed the listening habits of Nigerians, what and where is the place of sound design and score in pushing storytelling? And if you are doing a deep scrutiny of our auditory storytelling, how will you discuss it within the context of Nigerian films?  I see music and score as the continuation from where the dialogue stops. When you give the audience something they can relate to, you feel it, they feel it and we all love it. Well, you think of the city with the brown roofs you are thinking of Ebenezer Obey songs, you are thinking of the trenches you are thinking of a song by Small Doctor and the likes, if you think of a male character from the south-south part of Nigeria you are thinking of Timi Dakolo “Men of South” song. It’s all about creating a sonic identity that the audience with the background information can relate to and the ones without the information can learn something new about it. It’s entertainment but it’s also an education of the existing culture and listening habits of the biggest black country in the world. Not to place you on the spot. But, as an expert in this field, which films or series will you recommend for someone interested in learning auditory storytelling?  Lol. You’ve put me on the spot already. Not sure I can recommend the perfect film or series that captures the role of music in relation to auditory storytelling but if there’s anything I’ve enjoyed lately is reality shows and the intentionality in regards to the use of music, it’s as if the characters stop talking and it’s the music talking. Someone screams “I’m so rich” and what plays next is a song saying “I’m rich “. It’s so beautiful to watch. What do you think are the challenges attached to your part of the film industry? And, what recommendations will you prescribe? Improper licensing practices. The assumption the artist has told you to use the song for free doesn’t mean you can use the song just like that. Some producers and songwriters have to approve before you can use the music. Also filmmakers not understanding that music isn’t tomatoes that you can price anyhow. The deal is to work with the music that fits your budget, not your taste. I think this response circles back to a recurring theme in some of your responses: the need for education. Or, what do you think? Education is really