Tony Okuyeme 
…Says int’l co-productions are bridging Nollywood with Hollywood
With over nine years of experience in television and film productions, working behind the scenes, Preye Odibo has carved a niche for herself in the entertainment industry.
Widely recognised for her contributions to several television productions, including 2,080 episodes of the popular comedy series on the Africa Magic platform, ‘The Johnsons’, which has won the AMVCA Award for Best Africa Magic Original Comedy Series twice, she also produced 260 episodes of the critically acclaimed series ‘Wura’ on Showmax (nominated for AMVCA for Best Tv Series), as well as the films ‘Conversations In Transit’ and ‘Hijack 93’ as the Line Producer respectively, among others.
In a chat with New Telegraph recently, Odibo, who is currently the Series Producer at Native Media Company, recalled that her journey into the entertainment industry has been a well-known aspect of her life since childhood.
“Whether as a dancer or an actor, I have consistently excelled in these areas from a young age, achieving the title of best dancer in every competition I entered,” she enthused.
Therefore, when she was admitted to study theatre arts at the University of Ibadan, the decision was straightforward for her. However, her fascination with the filmmaking process has been there since her early years.
According to her, while she cannot pinpoint a specific individual or event that inspired her, she believes that her passion for entertainment – encompassing television, film, and stage – is inherently ingrained within her.
This intrinsic talent recalled, was further acknowledged during her National Youth Service Corps (NYSC) program, where she served as the dance director for my cohort in 2011-2012.
She noted that her career as a producer has been characterised by continuous learning, adaptation, and artistic development. For her, each project has contributed to shaping her methodology, enhancing her capacity to narrate engaging stories, oversee extensive productions, and navigate the dynamic realm of film and television, whether in a studio environment or on location.
“I have come to appreciate the significance of adaptability, effective team coordination, and proactive planning to address production challenges,” she further stated, stressing that this journey has solidified some of the most crucial lessons she has acquired over the years.
“Resilience is essential; large-scale productions often present unforeseen challenges, could be nature or even human challenges, and it is perseverance that distinguishes success from failure.”
She also noted that collaboration is vital, emphasising that a successful production relies on the synergy among directors, actors, crew members, and creative contributors.
“I have always believed in the mantra ‘We’ than ‘I’. The word ‘We’ will get you farther in life with your team than the word ‘I’; and like my boss, Rogers Ofime, will say, ‘The star of the team is the team.’
For her, storytelling must be flexible; adapting a narrative for a new audience necessitates both honouring the original material and embracing innovation. Moreso, as production transcends logistics, it involves fostering an environment where creativity can flourish despite limitations.
She also noted that through her involvement in various projects, whether as a series producer or line producer, she has had the opportunity to grow and lead intricate endeavours such as ‘Wura’, ‘Voiceless’, ‘Conversation in Transit’, and ‘Hijack 93’, thereby expanding the horizons of her craft.
She averred that over the past decade, Nigeria’s film and television sector has transformed into a significant player in the global entertainment scene.
“Nollywood has evolved from low-budget productions to a thriving industry with improved quality, international collaborations, and diverse storytelling.
The rise of streaming services like Netflix, Showmax, Prime Video and the recently launched Circuits TV has expanded distribution and global visibility for Nigerian filmmakers, leading to better production standards and more compelling narratives for both local and international audiences.
High-budget productions and investments in filmmaking infrastructure have increased, with notable works like ‘Wura’, ‘King of Boys, and ‘Hjack 93’ showcasing exceptional content.
The scripted television landscape has also evolved, moving from traditional soap operas to high-quality dramas and thrillers, as seen in popular series like ‘Shanty Town’.
Moreover, there is a growing emphasis on cultural storytelling, with filmmakers exploring historical and socially relevant themes that highlight Nigeria’s rich heritage,” Odibo said.
She is confident that international co-productions are bridging Nollywood with Hollywood and other global industries, noting, however, “despite these advancements, challenges such as piracy, funding issues, and distribution obstacles persist. Nonetheless, the industry continues to innovate and grow.”
Meanwhile, for her, creating culturally relevant and socially impactful content requires a deep understanding of audience dynamics, societal challenges, and authentic storytelling. To achieve this, she said: “I focus on narratives that reflect local traditions and values while addressing contemporary social issues.
Collaborating with cultural experts and diverse voices ensures accuracy and representation. The project ‘Wura’ exemplifies this approach, featuring relatable characters and local flavour that resonate with audiences, we had to go film in Ife and went all the way to Iperindo to film which is the major backdrop that the series is set
on.
“I also use film and television to spark social discourse on topics like gender roles, economic inequality, and identity. While ‘The Johnsons’ is a comedy, it employs satire to engage with these themes, balancing entertainment with substance.”
Significantly, as culture evolves, Odibo adapts to emerging trends and platforms, ensuring that her content remains impactful and true to the society it represents.
Producing high-quality content under tight deadlines, no doubt, requires strategic foresight, flexibility, and collaboration. For Odibo, her experience in ‘Wura’, ‘The Johnsons’, and ‘Hijack 93’, has given her a systematic approach to balancing quality and efficiency.
According to her, for long-running series like ‘The Johnsons’, she emphasises thorough pre-production planning, including script finalisation and crew coordination, to ensure consistency.
“In ‘Wura’, I demonstrated adaptability by managing on-site challenges while keeping the production on schedule. With ‘Hijack 93’, I focused on precise execution through strong pre-production efforts, enabling rapid shooting without sacrificing narrative depth.
Across all projects, I rely on strong leadership, effective communication, and problem-solving skills to navigate time-sensitive challenges while maintaining creative standards.
“Producing ‘The Johnsons’, a sitcom aired on Africa Magic with a demanding schedule of 260 episodes annually for eight seasons presents distinct challenges that require resilience, creativity, and exceptional organisational capabilities.
“One of the primary obstacles is ensuring consistency in storytelling and quality throughout such a substantial number of episodes.
“The rapid production cycle necessitates that each episode remains engaging, humorous, and innovative, which demands ongoing script development, robust character interactions, and an effective editing process. Another significant challenge lies in scheduling and coordination.
“Overseeing a large cast and crew while adhering to daily shooting schedules makes time management imperative,” she said.
