Deyemi Okanlawon Highlights YouTube as a Growing Hub for Independent Nigerian Filmmakers Amid Cinema Challenges
Renowned Nigerian actor and filmmaker Deyemi Okanlawon has identified YouTube as an increasingly viable platform for Nigerian filmmakers, especially those working independently or outside the mainstream studio system. In a recent interview on Channels Television, Okanlawon explained that a significant shift is taking place in the industry, with many producers now turning to digital platforms—particularly YouTube—as a preferred outlet to showcase their creative work.
Independent Filmmakers Facing Cinematic Roadblocks
According to Okanlawon, the traditional cinematic distribution system poses numerous challenges for new and independent filmmakers. He noted that taking a film to Nigerian cinemas is often financially and logistically difficult, especially for those without the backing of major studios or distributors
“It’s really difficult for an independent filmmaker, especially if you’re starting out,” he said. “There are so many barriers—from limited screen time to intense marketing requirements and the politics of distribution.”
The father of three elaborated on how newcomers often struggle to secure adequate showtimes or gain access to major theaters due to their lack of influence or marketing budgets. He pointed out that cinema operators often favor already established producers with a proven commercial track record.
YouTube as a Democratic Alternative
In contrast to this traditional model, Okanlawon praised YouTube for offering a more democratic and inclusive platform where creators don’t have to navigate industry gatekeeping. The platform allows filmmakers to reach a global audience directly, without the bureaucracy or financial overhead required in theatrical releases.
“On YouTube, nobody’s standing in your way,” he said. “There’s no politics of, are you a popular producer? Are you spending enough on marketing? Are we giving you enough screen time? None of that. It’s all about the content and the connection with your audience.”
He emphasized that this freedom is increasingly attractive to “serious filmmakers” who want more control over how their work is distributed and consumed.
Cinema Returns: Profit Margins Still Slim
Okanlawon also addressed one of the most pressing issues facing Nigerian filmmakers: low profit margins in cinema releases. Despite impressive ticket sales, he revealed that the actual financial return for producers is often underwhelming. Citing a personal example, he explained that his film grossed over ₦130 million at the Nigerian box office but still failed to recoup production costs due to revenue splits
“That entire ₦130 million doesn’t come to the producer. It’s divided between the cinema operators, the government (through taxes), and others. At the end of the day, you’re left with around 40% of the gross. For my film, that wasn’t enough to cover what we spent,” he said.
This reality, he stressed, further pushes filmmakers to consider digital platforms like YouTube, which offer higher creative and financial autonomy, even if monetization structures are different.
Learning the Business Side of Film
To better understand the economics of filmmaking, Okanlawon made a strategic move in 2019 by stepping away from acting to gain experience in the corporate side of the film industry. He joined Silverbird Film Distribution, where he took on several roles over the course of two years—including Head of Marketing, Head of Nollywood Distribution, and even serving briefly as Acting CEO in 2021.
“I couldn’t afford to go get an MBA, so I chose a more practical route—I went to work. That was my film school. I needed to understand the industry from a different perspective, especially if I was going to produce my own content,” he explained.
This experience gave him valuable insight into the distribution ecosystem, revenue models, and audience behavior, equipping him for the multifaceted challenges of modern filmmaking in Nigeria.
Decline in Original Nigerian Content on Major Streaming Platforms
Touching on a related issue, Okanlawon also addressed the recent slowdown in original content commissioning by international streaming platforms like Netflix. He attributed this to unmet expectations, explaining that these platforms were looking for blockbuster hits comparable to global sensations like Squid Game or Money Heist—and had hoped to find such content in Nigeria.
“They came looking for the next global phenomenon, and while some of our films have been outstanding, they didn’t quite deliver the global breakout they were expecting,” he said.
Despite these challenges, Okanlawon maintains an optimistic outlook, stressing that success remains achievable for creators who are willing to innovate, adapt, and remain consistent.
“Wherever I find myself—whether on Netflix, in cinemas, or on YouTube—I always bring my best. I give it 100% every time,” he affirmed.
Deyemi Okanlawon Thoughts
Deyemi Okanlawon’s perspective reflects a broader trend in the Nigerian entertainment industry, where digital platforms are becoming crucial lifelines for storytelling, especially for creators navigating tight budgets, industry politics, and distribution barriers. As more filmmakers turn to YouTube and other digital spaces, the future of Nollywood may be increasingly shaped by creators who choose flexibility and direct engagement with their audiences over the traditional gatekeeping systems of cinema and streaming giants.
