Femi Adebayo is an actor and filmmaker who serves as J-15 Media Network Nigeria’s managing director and chief executive officer. He discusses his profession, his relationship with his father, legendary actor Adebayo Salami, and other topics with NAOMI CHIMA.
How would you describe your relationship with your dad?
He loves all his children equally, but that man; he’s my guy, 100 per cent. I love him deeply and thank God for bringing me into this world through him. Every time I talk about him, I get emotional. I have never met a father as understanding and accommodating as he is. I can proudly say that about 95 per cent of Yoruba actors and theatre practitioners out there have passed through him. That became even more evident when we celebrated his 50 years on stage, and everyone came out to honour and appreciate him. I am grateful that we’re both alive, healthy, and able to now celebrate his 60th year on stage together.
What has your journey in the entertainment industry been like?
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I thank God, because it has been a fulfilling journey. I owe it all to Him and, of course, my father. He laid the foundation we’re building on today. It wasn’t easy in his time, but the legacy he built is what we’re now benefiting from. That’s why I’ve stayed close to him; not just as a father, but as a mentor. He is always present on all my movie sets; whether or not he’s part of the cast. If we are on set for six weeks, he would be there every single day as my supervisory director.
Considering that you studied Law, did you always plan to become an actor?
Initially, I wanted to be a lawyer. My dad was so happy when I told him. He said he even named me after his boss, Femi Okunnu, who was a lawyer. He had always dreamt of studying law himself, but his parents couldn’t afford it. I pursued law because of the prestige—the courtroom drama, and the robes. But during school holidays, I’d accompany him to rehearsals, and over time, I fell in love with theatre. At school, law was my profession, but at home, acting was my passion.
The shift happened after graduation. I wasn’t earning much as a lawyer—about N20,000 monthly. Meanwhile, acting jobs paid N40,000–N50,000 for just a few days. That’s when I told myself, “Guy, think well. This is your real calling.”
Did you ever feel pressured to live up to your father’s legacy?
Yes, absolutely. When I started, I silently challenged myself to produce films that would surpass his. He didn’t know it then, but I made it a goal. Yet, I knew I couldn’t achieve it without him. He has guided me through so many projects. I would tell him my story ideas, and he would help flesh them out. If you’ve seen my successful films, just know he’s a big part of that success, even when he’s behind the scenes.
Why did you take some of your major films to Netflix rather than cinemas?
My first large-scale film, ‘Diamonds in the Sky’, an advocacy project about breast and cervical cancer directed by Kunle Afolayan, was picked up exclusively by Netflix. I had planned for a cinema release, but Netflix’s offer made more sense.
Later, I did ‘Survival of Jelili’, which went to the cinemas, followed by ‘King of Thieves’, which earned N320 million—back when tickets were still N1,500. That encouraged me. But, as both a businessman and creative, when I made ‘Jagun Jagun 1’, I needed to recoup my investment quickly. So I went to Netflix again. And the visibility? It’s even stronger than the cinemas.
Also, let’s be honest; the cinema-distribution structure isn’t always favourable to producers. It’s just business. But for ‘Her Excellency’, my father’s 60th-anniversary film, we’re doing a cinema release first. I want everyone to see that he’s still alive, strong, and acting.
Do you ever clash with your dad on set?
All the time. My younger brother, Tope, is also a director; so daddy has raised two directors. On set, we sometimes argue over execution and interpretation. Sometimes, my brother and I win the debate. Other times, we admit daddy is right. But, it’s always respectful. We value one another’s perspectives, and it’s all in service of the story.
Why a cinema movie for his 60th, rather than another stage play?
We marked his 50th anniversary with a stage play, and performances by industry veterans. But times have changed, and cinema is now the dominant medium. So, I suggested we do a big movie instead. He agreed, and that’s how the idea was born. I knew no one else could do it better than me; it had to be us.
Tell us about the movie.
‘Her Excellency’ is a remake of one of his classic films, ‘Agbara Obirin’, which means The Power of Women. It is a beautiful project, co-directed by Tope Adebayo and Adebayo Tijani, with daddy supervising.
The cast is phenomenal, including Sola Sobowale, Bimbo Ademoye, Yemi Solade, Jide Kosoko, Muyiwa Ademola, Odunlade Adekola, Aisha Lawal, Fathia Balogun, Kiekie, and myself. Many came to honour my dad and even worked for free. We shot the entire film in Ilorin, (Kwara State capital).
What’s your take on today’s movie promotion trends, especially social media dancing?
My dad and I cannot dance, but we’ll promote our film in our own way. Everyone knows Funke Akindele is a great dancer, and it works for her. But let’s move past the idea that you must dance to promote a movie. The movie is powerful, and it speaks to every stratum of society. I believe it will make the impact we envision.
How did the success of Seven Doors at the Africa Magic Viewers Choice Awards make you feel?
It was a huge deal. I knew the film was special, but the level of recognition blew me away. It dealt with generational curses, and the audience truly connected with it. I put in the work, paid attention to every detail, and left the rest to God. And, He came through.
Why did you cast Chioma Chukwuka as your co-lead in the project?
As a Nigerian youth ambassador, I believe in unity. All my movies carry messages that address societal issues and push for peaceful resolutions. Chioma is an embodiment of that. We must move beyond division and find common ground if we want to move Nigeria forward.
Your siblings are also into entertainment. What’s that like?
Tope is a director, Sodiq is a production manager, and Ridwan is an editor. Others like Sola, Lara, and Akeem act part-time. Mummy used to be a marketer. It’s a family affair, and we work well together.
What’s your view on retirement planning in Nollywood?
Old age will come, and it’s a personal responsibility to prepare. Sadly, retirement planning is generally poor here, and not just in Nollywood. I always advocate for proper planning. I am on a micro-pension scheme, and I have enrolled my staff and close actors. HMOs are now available too. My dad is fortunate, but not everyone is.
How are you preserving and building on your father’s legacy?
I run a theatre school that’s been active for over 15 years. That’s one of the ways I’m keeping the legacy alive.
What are your thoughts on collaboration in Nollywood?
It’s essential. Collaboration leads to better films. We are seeing more studios come together, and it’s raising the quality of our output. I always encourage partnerships, especially for promoting African and indigenous storytelling.
How do you handle criticism and online backlash?
Constructive criticism is welcome. I take it seriously and use it to improve. But, I ignore the noise and the baseless drama online. I focus on the work.
