In an exclusive interview, veteran Nollywood actress Stella Damasus reflects on her remarkable 30-year journey in the film industry, sharing insights into her challenging roles, evolving craft, and the personal philosophies that have shaped her enduring career.
Any Nigerian who grew up watching Nollywood in the early 2000s is familiar with Stella Damasus, an incredible actress and creative who shaped the industry at that time. Alongside other well-known names in film, like Genevieve Nnaji, Ramsey Nouah, Richard Mofe Damijo, Rita Dominic, among others, Stella Damasus shaped culture. She was part of the industry leaders who created the foundation for the Nollywood we recognise and celebrate today.
Known for her earnestness in bringing characters to life in delightful and often heartbreaking ways, Stella Damasus is inexplicably one of the Nollywood greats. Now, 30 years into her career, she has grown immensely, her work and legacy right alongside her. With an impressive career spanning acting, producing, directing, teaching, among other things, it’s no surprise that she’s part of the latest Nollywood production that everyone is talking about — Kemi Adetiba’s “To Kill a Monkey.” Her 30-year journey in Nollywood, marked by dedication and evolution, is truly inspiring.
In this exclusive interview with the talented and down-to-earth veteran actress, she tells Marie Claire Nigeria about how she followed a fierce childhood passion and grew into a multi-pronged creative business and career spanning three decades.
On career and craft
You’ve had such a remarkable career, spanning over two and a half decades. What’s one role that challenged you in a way you never expected, and what did you learn from it?
My most recent role: Nosa in “To Kill a Monkey”. Not only was she a complex character who was multi-layered and had a depth of emotions, but there was also a lot of physicality involved. I had to do a lot of rehearsals and spend time at the gym. I haven’t had the opportunity to do that before now, so that was quite challenging for me. Especially working with Kemi Adetiba — you have to do it over and over again until it gets to where she wants it to be.
How has your approach to character development evolved over the years? Are there specific techniques you rely on now that you didn’t earlier in your career?
Earlier, I didn’t have as much knowledge as I do now. I knew I had the talent, but over the years, as I started doing more training, I realised the importance of doing character analysis, breaking it down and becoming that character, as opposed to giving of yourself. Now, I’m learning to put Stella away and become the character. It’s merging contemporary acting with what we call Stanislavski in acting history.
Looking back, what’s a performance you’re particularly proud of, and why?
I’m proud of a lot of the work I’ve done, but I always go back to “Real Love”, the one I acted alongside Ramsey Nouah. I played a blind character. I had to go to a school for the blind — Pacelli School for the Blind — just to get a sense of what it feels like to be born blind. I watched the blind kids play football, saw how they see the world, how they think and how they use their other senses. It was very challenging, but I was proud of myself for pulling it off.
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The industry has changed so much. What are some of the biggest shifts you’ve witnessed, particularly for women in film and television?
We have more female directors and producers. They now have the biggest in box office sales and hits, both in cinemas and online. They are taking and not waiting for people to give them work and creating a lot more magic. I’m seeing a lot of female cinematographers, gaffers, DoPs, and the skills and the techniques they use to create are amazing. I’m thrilled at what is going on, that we can work towards balancing the scales and do good work. Even the stories are different: female-centred stories with stronger characters, not just victims and wives. These characters are bold; they’re villains, they’re protagonists.
What’s a piece of advice you wish you’d received when you were just starting?
Slow down, take it easy. When we were starting, we wanted to be out there; we were so excited. I wish I had taken my time to plan, slow down and do other things. I wish I’d seen the future to see that it would have been alright, without going from place to place to do auditions in the hot sun.
On life and longevity
You do a lot of things — acting, producing, running your media company ADIVA, amongst other things. What else keeps you creatively inspired and fulfilled?
Everything I do is creative, so they’re all linked. The Stella Damasus Arts Foundation helps people grow in the arts, while my media company handles production, documentaries and more. My publishing company publishes books, and my acting school — where I teach acting — serves as a space for creativity and expression.
Everything I do reflects different parts of me and the creative aspects I’ve always wanted to explore. So I’m acting, producing, teaching, writing and publishing. Now, I’m directing because I’ve just joined the Director’s Guild of Nigeria. And I’m going to direct my first project very soon. I’m excited to get up and work every day because these are all things I have on my bucket list.
Can you share a bit more about the film you’re directing?
I already have two feature films on my YouTube channel. Now, we’re working on two short films and a feature-length movie. I’ll be directing one of the short films and acting in the feature-length film. That one will shock people because I will be acting alongside someone completely unexpected. I’m excited about it.
How do you maintain a sense of balance and well-being amidst the demands of a public career and also being a mum?
I’m happy that as a mum, I’m at the stage where I’m friends with my children. My two daughters — aged 26 and 23 — are grown now, so I don’t have to pamper or run after them. Coincidentally, they also work with me, so I get to see them every day. When we did the movie productions last year, they were on set, each with their respective roles.
With the companies, I learnt to delegate. My major role is to approve certain things, but I love teaching and being in front of the camera, so I do those myself. However, I am constantly delegating and overseeing the administrative, management, and pre-production work. My employees take the load off me, so I’m at a point where I can slow down and let them do their thing.
What role has mentorship played in your life, both as a mentee and perhaps as a mentor to others, especially through your arts foundation?
I am the most grateful person in the world for mentors. I have three mentors — one of them is Segun Lawal (Founder and President of Spirit of David) — these people have helped, encouraged and helped me, especially in my lowest moments. Even in business, surrounding myself with experienced, older mentors has helped me avoid many mistakes by learning from theirs.
It’s something I’ve also tried to replicate as a mentor. The impact of mentorship is truly priceless — and many people have come back to express their gratitude. It’s an awesome thing to know that your life has made a difference in impacting someone else’s.
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What’s one common misconception people have about being a veteran actress, and what’s the reality?
People often think we’re overpriced and they cannot afford us, so they don’t approach us. There’s also this idea that because you’ve done it for a long time, you have to play an old woman. I always say I started when I was a teenager, so it created this impression that I’m much older than I am. Some of us started very young; I’m just 47 years old, but we’ve been in the game for twenty to thirty years. This December will make it 30 years for me in the industry.
I wish more people knew that sometimes, when we hear good stories, even if it feels like a project can’t afford to pay us, there are still other ways to collaborate. For instance, being an associate producer or splitting profits. There are always more ways to work together.
What does “ageing gracefully” mean to you, particularly in an industry often focused on youth?
Ageing gracefully is accepting what comes with ageing as a woman and accepting and loving myself. People have asked me if I want to get surgery, and I’ve always reiterated that I don’t believe in that. Being in the industry for 30 years without doing any of those things tells me that I’m okay — comfortable in my own skin and committed to staying fit and healthy. As I grow older, I see and feel the changes, but the fact that I’m alive and can continue to do the things I love is great. I believe my ageing is graceful.
On women and impact
Who are some of the women, either in the industry or in your personal life, who have most inspired you?
My late mother was my first inspiration. She was a very strong woman who had 5 girls and a boy, who died when he was 10. I saw how brave she was and raised five of us to be the strongest women I know. She was my first inspiration, as a banker and as a woman.
My godmother is also another inspiration. She is an amazing woman. She’s been my anchor — teaching me strength, character, and faith, and holding me together when I felt like falling apart.
Another inspiration would be my sister. I have four, but one in particular. She is the oldest and has become the matriarch of the family since my mum passed. She’s not afraid to start over, no matter how much time has passed. There are other people, but these three are top of mind.
There’s also a Liberian politician, Leymah Gbowee. She caused a war to stop. She gathered women of every group, every religion, to go in front of the parliament, naked, to protest the war in Liberia that had been going on for 14 years. When I read her story — she wrote a book: Pray the Devil Back to Hell — I was inspired.
What do you believe are the most significant strides women have made in Nollywood, and what areas still need improvement?
Women have opened doors for other women who have always wanted to be at the forefront of production. They’ve made us realise that it’s important for us to tell our stories the way we want to tell them, not just accept the way we’re represented. They’ve made us see that it’s possible to live your dream, be the head of production, if that’s something you want to do.
What needs improvement: for women, no matter how high we rise, there are still funding issues. There’s still a gender bias when it comes to requesting funding, especially from big corporations. I believe it will gradually get better. Another area we need to improve is taking women as seriously as men when it comes to filmmaking. But overall, we’re doing well, making giant strides and opening doors for other women.
You have two podcasts, but I wanted to talk about one in particular: When Women Praise. In what other ways do you use your platform to advocate for issues important to women?
I set up a platform called “Soldier in red lipstick” for women who are like me, who are bold. We want to know God, but we want to grow together. It’s not a church, it’s a community of women who love God and want to grow together.
That’s how it started. I realised there were so many women with powerful stories to share — gospel artists who had no platform or record label. So I began thinking about how to amplify their voices. That’s what led me to start hosting live events, Instagram livestreams, and connecting them with emerging artists. We discovered so many talented women who lacked visibility, and we began showcasing their work. It was both meaningful and fun.
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What message would you like to share with younger women who are aspiring to careers in the arts?
I’d say be sure that it is what you want to do. Don’t get into it for the wrong reasons, because it’s very easy to be swayed. When your lifestyle changes, it changes fast. Don’t do it for the attention; be sure that this is who you are and what you want to do.
Additionally, get educated in the things you want to do. You need training and skills, because it’s art doesn’t mean you don’t need training. I hope we continue to develop a structure that mandates education or training for anyone recognised as a professional and compensated for specific tasks.
If you could write your own next chapter, what kind of story would you want to tell, either on screen or off?
Off screen, my next chapter would be opening up the biggest children’s hospital Nigeria has ever seen, which would take in children who need medical attention without their parents having to pay for it. A dream come true would be to help children who need surgery, transplants, and chemotherapy get the best treatment, and their parents wouldn’t have to pay a dime. That would be the next chapter.
On screen, I’m looking forward to the two short films we’re working on, and also the last feature film that will close out the year. I’m going to be acting in that one, and people will not see this story coming.
On “To Kill a Monkey”
Your recent role in “To Kill a Monkey”, has been generating a lot of buzz. What initially drew you to this particular project and your character, Nosa?
When I read the script, I loved the authenticity. Every character had a flaw and their own issues. That’s typically how humans are; sometimes your choices are bad, sometimes they’re great.
Nobody got away with much. I’ve seen a lot of people say that Nosa got away with it because she got the money at the end. But she actually lost a lot more than she gained; lost one of her triplets, lost her mother, lost her marriage and home. The script showed me that in real life, whatever choice you make, there’s a consequence for it. There were distinct characters — from Idia to Nosa to Sparkles — different women playing different things in the context of the same script. However, Nosa was intriguing to me, and I was sold.
How did you prepare for the role of Nosa? Were there any unique challenges or research involved in bringing her to life?
Physically, I’d never had to go to the gym every day or do such intense rehearsals. I did all the physical stunts myself, something I’ve never had to do for a film. Nosa being drunk and drinking all the time was new too. It was a lot of new things I had never had the opportunity to experience previously.
One good thing is that I had an opportunity to speak pidgin the way I really wanted to and switch to proper English. For the transition from being poor to rich, I worked on little details, nuances and transitions, including the way I walked, carried my shoulders, and my expressions. My character breakdown also had to be very clear. Kemi and I had to go back and forth to make Nosa a viable character. I had to give Nosa a backstory, one that informed things we saw on screen. It was a lot of work, but it was good in the end.
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What was the most rewarding aspect of working on “To Kill a Monkey”? Was there a specific scene or interaction that resonated with you?
Every scene was an amazing experience. Kemi is an actor’s director. You have to be ready to give your all and work your butt off. She allows you to feel the emotions, the atmosphere. Every scene was an experience. We had to agree on everything: the pacing, the timing, blocking, volume control, and the intensity of our voices.
In what ways do you think Nosa’s journey or the film’s themes will resonate with a female audience?
This question has been difficult for me to answer. Many people have been coming for Nosa, especially women. They claim that she pushed her husband and left him. I thought men would have issues with her, and women, especially mothers, would resonate more with her. She was all about protecting her children. I find it baffling that women are coming for Nosa.
Meanwhile, I’m beginning to realise that society is not what it should be with the gender biases, etc. I know she had her flaws — she struggled with alcoholism, with the drinking as a coping mechanism — but I would have thought, as a woman who cared about protecting her children — many women, especially mothers, would understand.
She cared about more than money, because even after everything, she stayed with Efemini, and didn’t rat him out. Even after Sparkles sold him out, she didn’t testify in court. All she wanted was to take her children and go. I thought loyalty and protecting your children would be something women would resonate with, but I’m seeing a different reaction, and it’s quite interesting.
Is there anything about the experience of making “To Kill a Monkey” that surprised you?
No. It was everything I hoped it would be. I know Kemi would do everything possible to make it a great production. From how she treated us on set, to the trailers, to the way she cared for us. I wasn’t surprised, but I was very impressed.
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Personal reflections
What’s a “pinch-me” moment from your career that still brings a smile to your face?
When I worked on “Mo” for Netflix and acted alongside Tobe Nwigwe, I obtained membership in the Screen Actors Guild and the American Federation of Television and Radio Artists (SAG-AFTRA) in the USA. Gaining SAG-AFTRA membership requires meeting many criteria.
Interestingly, I had rejected the role three times; I didn’t want to play a 60-year-old mother, least of all for just one scene. However, I finally accepted it when someone told me to try it. Even after getting the role, I still wasn’t sure. But then I did it and got the membership without jumping through all the hoops and doing all the things that are required to become a member. I did not think it would happen like that. That was a real pinch-me moment.
Beyond the accolades, what brings you the most personal satisfaction from your work?
The fact that I get to do this — live my dream. As a kid, I always wanted to sing, dance. I even thought I was going to dance for Fela. It still makes me laugh till tomorrow. I’d spend extra hours in the bathroom, standing in front of the mirror, playing different characters I’d seen in films. I’d sit in front of the mirror, knowing this is what I wanted to do. The fact that I get to do it is amazing. I also always wanted to teach; I was teaching lizards and insects in the back of my father’s house. The satisfaction is that I get to live my dream. That’s what matters the most.
What’s something surprising you’ve learnt about yourself through your journey as an actress, producer and all-round excellent creative?
My ability to multitask. Over the years, I realised that now I can get creative ideas and put them down and find the people who can help execute. I can have two ideas at the same time, and I will execute them through delegating and supervising. We shot two feature films last year and released two of them this year — that’s remarkable to me.
If you could have a conversation with your younger self, what’s the most important thing you’d tell her?
I would tell her that life will throw curveballs at you. Take it one step at a time. Don’t let pressures and expectations from others push you into doing things you’re not prepared or ready for. Don’t rush into anything. Take it easy, and you’ll be alright.
