Known for her meticulous planning and unwavering commitment, Lala Akindoju’s approach to her work is as distinctive as her talent.
Lala Akindoju is a name synonymous with a multi-disciplinary career in Nigerian film and entertainment. From her early aspirations to her current influential position in Nollywood, Lala’s journey is one of passion, strategic diversification, and a deep commitment to storytelling.
For Work Life, Marie Claire Nigeria had the pleasure of speaking with Lala Akindoju, the award-winning actor, producer, casting director, and all-around creative force. We explore the formative influences that shaped her path and the driving force behind her impressive work ethic.
Early life and influences
Let’s start by exploring your background. If your friends were to describe your work ethic and personality, what would they say?
My friends would likely describe me as an over-communicator — in the best way. I’m structured to a fault, the chief planner in almost every room, and someone who thrives on clarity and direction. At my core, I’m a “Jesus girl” — deeply loyal, unwaveringly committed, and undeniably intense. I approach everything with an all-or-nothing mindset: it’s 100% or not at all. And while I may be the first to design a strategy or anchor a vision, I’ll also be the first to admit I’m not exactly the most tech-savvy — and that’s putting it kindly.
Growing up, many of us have different career aspirations. How did you transition from that to your current career trajectory?
I once dreamed of becoming a paediatrician. My academic path was firmly rooted in the sciences, but the further I went, the more I realised it was making me deeply unhappy — not for lack of success, but because it simply didn’t bring me joy. I was a science student with the heart of a literature lover. Books were my solace, and literature classes lit me up in ways Physics and Chemistry never could. So, in SS2, just before the WAEC mock exams, I made a bold decision: I dropped Physics and Chemistry and crossed over to the arts. In less than a session, my entire academic trajectory shifted — and I’ve never looked back.
What was the initial appeal of paediatrics?
As a child, I was drawn to big words. “Paediatrician” was a favourite — I delighted in the surprise it evoked when I used it correctly. I also asked a great many questions, a habit I proudly referred to as having “an inquiring mind.”
In my adolescence, I considered following in my mother’s footsteps — she was a school principal — and becoming a teacher. As it turns out, that impulse found expression throughout my career, regardless of the title I held. I’ve taught drama and improvisation to children in public schools while I was a Global Shaper with the World Economic Forum, and as an acting coach, even in the director’s chair, I am always teaching. It’s there in the audition room, on panels, at speaking engagements — anytime I’m articulating a creative vision or guiding others through how I hope it will be interpreted.
The instinct to teach has never left me, because at its core, it is simply the act of transferring knowledge — and that is something I’ve always been compelled to do.
So, how did you go from teaching to everything you’re doing now – acting, theatre, directing, and producing?
My interest in drama and teaching overlapped. I grew up watching plays; my dad also exposed me to plays as a child. I’m doing all of these things because to survive in the entertainment industry, you have to diversify. I’m not particularly business-minded, so I used my existing skills. I studied Insurance, which was far from my passion. I’d always been expressive — in drama groups, choir, or while playing the recorder. At the University of Lagos, I spent more time with Mass Communication students, than in my own department.
I was a bit confused for a while. I knew I didn’t want a white-collar job; I found joy in expressing myself, with people, and in the arts. In 2005, when I was in Year 2, I auditioned for a play, “All I Want for Christmas,” and that cemented my path. My career in acting hadn’t crystallised until that play. And that was when it kicked off, because during that play, someone saw me and invited me for another audition in 2006. The rest is history. It’s been 20 years since that first play.
In terms of diversifying, I wanted to become a problem-solver and decision-maker, so I knew acting was just a means to an end. I’m passionate about discovering talent, which made casting inevitable.
How did your parents react to your career choice?
Like many parents, mine initially hoped I’d pursue a stable, high-earning career. They wanted the best for me, even if they didn’t quite understand the path I was carving out. My mother has always been deeply supportive, even when my choices felt unfamiliar to her. My father, in those early days, was more cautious — he preferred I complete my education and keep acting as a side passion. Their concerns were typical, shaped by the unpredictability of the industry.
But everything changed after I performed in The V Monologues in 2008, alongside icons like Kate Henshaw, Funmi Iyanda, Bimbo Akintola, and Ireti Doyle. After that, my father’s support became unwavering. From then on, they attended every production — my dad even came to rehearsals. They were, and are, incredibly proud.
He passed away recently, and it feels surreal to imagine doing a play he won’t be there to see.
Navigating the industry
You’ve become a prominent name in Nollywood, involved in many successful projects like Gangs of Lagos and Black Book as an actor, producer, and director. TobI Bakre in Gangs of Lagos, who delivered a powerful performance credited his skills to your coaching. How did you develop your acting coach skills?
That instinct comes from the teacher in me. My first casting credit was on Gidi Up, when Jade Osiberu — who had recognised my eye for talent — brought me on for a fresh, nuanced approach, distinct from the more conventional Nollywood style. We met during my master’s programme, and when she began building Ndani TV, she reached out. It was an opportunity to do things differently.
I’d also been learning under the guidance of my mentor, Akin Omotoso, whose emphasis on organic, conversational performances had a deep influence on me. That style — rooted in truth and subtlety — was something I found missing in many performances at the time. So from Gidi Up onwards, I took a hands-on approach: warming up with actors, helping them find their rhythm, guiding them into the emotional core of a scene. It felt natural.
Directing for theatre was another extension of this instinct — the rehearsal room is a kind of classroom, after all. And I’ve never stopped learning. I’ve invested heavily in courses, workshops, and continued training, both in acting and in coaching. At one point, I was coached by Ifeoma Fafunwa, whose insight shaped my understanding in profound ways.
I also have a gift for recognising potential — knowing when a performance needs tightening or where an actor’s best instincts are hiding. It’s like I have an internal metronome that picks up on the cadence of truth. I’m especially particular about excellence in any project I work on, so I often coach actors on the productions I produce. Acting coaching, for me, is personal. I prefer to work with actors who already have a script and are deep in the process of character development — that’s where the magic happens.
When I worked with Tobi on The Other Side of the Bridge, the work was all about uncovering the layers within the character — the silences between the lines, the weight of backstory, the breath behind intention. A lot of what I do is instinctual, yes, but it’s also deeply technical. I’ve spent years exposing myself to craft and process, and I’ll never stop. That’s the kind of artist — and teacher — I am.
Looking back over your 20-year career, how has your vision evolved, and where do you see it going in the next 20 years?
From the very beginning, I saw this as a marathon, not a sprint. I’ve never been in pursuit of celebrity — I’ve been building a career. A lasting one. I consider myself, first and foremost, a professional — a thespian with deep respect for the craft. I understood early on that this industry moves in seasons, and I’ve always prioritised relevance, impact, and longevity over momentary hype.
That’s why I’ve diversified my presence — whether I’m in front of the camera, behind it, producing, coaching, or consulting, I remain actively engaged. It was a conscious decision to position myself as a respected voice in the industry — someone known for excellence, discipline, and intentionality. I’ve been discerning about the opportunities I’ve taken, but when I commit, I do so fully, with a clear eye on the results I want.
Now, I’m focused on global expansion. I want to help tell authentic African stories — stories with depth, nuance, and global resonance. Whether I’m raising funds, producing, or shaping narratives, my goal is to demonstrate that African films can stand shoulder to shoulder with the best in the world — not just artistically, but financially.
To do that, we must address the systemic issues — particularly funding and distribution. With the right support and the right teams, we can position African cinema for international success: festival runs, strong sales deals, global visibility. I want to be part of that shift. I want to build a truly global brand, one that champions high-quality, financially successful African films — and in doing so, help birth new careers and a new era for the industry.
Challenges and accomplishments
Speaking of challenges, what has been your biggest challenge so far, and how did you overcome it?
Funding remains one of the most persistent challenges. More often than not, we’re still relying heavily on personal networks — friends, family, and individual goodwill — to get projects off the ground. While there’s been a welcome increase in the number of film funds available within Nollywood, that growth hasn’t yet translated into consistent, tangible support for filmmakers on the ground.
Would you say that’s Nollywood’s biggest issue in general?
Distribution is arguably Nollywood’s most pressing industry-wide challenge. Once we can crack the distribution puzzle — streamline access to audiences, ensure returns, and project profit margins with clarity — it becomes significantly easier to attract funding and scale sustainably.
That said, for me personally, funding remains the most fundamental issue. It impacts every stage of the filmmaking process, starting with script development. In other parts of the world, writers are given the time and resources — often a year or more — to properly develop scripts, thanks to dedicated development budgets. Here, we’re frequently forced to rush that process, not due to a lack of talent, but a lack of support. And it shows. The quality of storytelling suffers when the foundational stages are under-resourced.
What we need isn’t more talent — we have that in abundance. What we need is a stronger infrastructure: proper funding, development pipelines, and intentional investments in skill refinement and growth.
On the other side of that, what work accomplishment are you most proud of?
There have been many career highlights, but Iwaju stands out as the most significant so far. It was an incredible honour to be entrusted by Disney and the creators with assembling the cast for such a groundbreaking project. The process of finding the right voices — especially someone as integral as the actor who played Tola — was both rigorous and deeply rewarding. It felt like a true affirmation of my instincts and expertise.
I’m also immensely proud of The Black Book, Eyimofe, and other projects that have challenged and expanded me. Gangs of Lagos remains another standout — a film that combined scale, grit, and a distinctly local pulse in a way that continues to resonate.
Is there anything you’d have done differently?
If I hadn’t studied Insurance, I would’ve gone straight to film school. Storytelling was always calling — I simply didn’t have the language or framework for it yet. But looking back, it was always there, waiting for the right moment to take centre stage.
The future of African cinema
What excites you about the current wave and the future of Nigerian and African cinema?
It’s an incredibly exciting time to see the world finally paying attention to us. Our stories matter, and they can no longer be ignored. But as much as this global spotlight is thrilling, we must be strategic about how we position ourselves to tell these stories authentically and with depth. Whether we’re sharing true-to-the-motherland narratives or broader perspectives, it’s crucial that we tell our own stories — on our terms.
This is a golden era for Africans, and especially for Nigerians. Music has already paved the way, bringing our culture and talent to the global stage. Now, it’s film’s turn. Our stories need to be heard, and we are more than ready to tell them. It’s a remarkable time to be Nigerian, particularly in the realms of music and film, where our voices are resonating more powerfully than ever before.
Defining power and work-life balance
At Marie Claire Nigeria, we’re intentional about the women we feature. As an actor and executive, what does power mean to you?
For me, power is rooted in empathy — the ability to truly understand and influence the experiences of others. As a woman, a feminist, and a director, I recognise the unique power I hold to shape environments and make decisions that protect and uplift those I work with. This includes fostering a safe, respectful set, advocating for fair pay, and making choices that positively impact the final product.
I’m driven by the change this position allows me to create — not just for myself, but for others who may not have the same power or voice. That responsibility is what pushes me forward, knowing that my actions can ripple out and effect meaningful transformation.
You have a very busy schedule. What’s a typical day in your life like, and what tips do you have for maintaining a healthy work-life balance?
My routine varies depending on the day, but right now, I’m juggling work, breastfeeding, and school runs. I handle virtual meetings, read scripts on the go, and keep up with family routines. During moments of downtime, I try to watch a film or catch up on tasks. On production days, everything shifts, and the rhythm changes. But, overall, my life is a blend of professional commitments, meetings, and family time.
When it comes to work-life balance, I live by a few principles: invest in genuine friendships, carve out time for activities outside of work that bring you joy, and always remember that no one is an island. Building a strong community is crucial — it’s this network of support that makes everything manageable.
Advice for aspiring filmmakers
What advice would you give to aspiring actors and filmmakers?
Embrace the process, whatever it may be. There are no shortcuts to success. Consistency and persistence are key. As my former boss once said, “Don’t wait for the metal to be hot to strike. Just keep striking that spot. One day, the metal will bend.”
To wrap up, what’s something you want to be known for?
Beyond the work and the accolades, what I truly hope to be known for is how I made people feel. I want to be remembered as someone who positively impacted others’ lives through every interaction, no matter how small. Alongside that, of course, I aim to produce work of the highest calibre — work that will stand the test of time and outlive me.
