His name has become a quiet stamp of quality across Nigerian music videos. Dammy Twitch has directed visuals for Davido, Burna Boy, and Omah Lay, artists who demand more than just fancy edits. They come to him for a story. For feeling. For those small, unspoken moments that turn a music video into a short film.
But Twitch, whose full name is Apampa Oluwadamilola Owolabi, has always known he wanted more than three minutes. He just refused to rush it.
"Call of My Life started from conversations I had with Blessing Uzzi for years about directing my first feature," he tells The Nollywood Reporter. "I wanted to take my time and grow step by step, which is why I first did I Hate It Here."
That short film, released in 2023, was his testing ground. A small, contained story that allowed him to flex his narrative muscles without the pressure of a full feature. But the real prize was always waiting.
When the script for Call of My Life landed on his desk, written by Uzoamaka Power, something clicked. "Love is something I believe is part of our everyday lives," Twitch says. "When I read the script, I was deeply inspired by the level of detail and how well it was written."
He had been approached before. Other films. Other series. Nothing stuck. "Before this, I was approached to direct other films and series, but none connected with me the way Call of My Life did. It felt personal. I believe strongly in loving people the right way and telling a story about that felt like the right first feature for me."
The film follows Soluchi, a call center agent nursing an old heartbreak, whose routine workday takes an unexpected turn when a single phone call pulls her toward new love. It sounds simple. But simplicity, Twitch has learned, is the hardest thing to pull off.
His background in music videos and commercials shaped every decision on set. "From planning to execution, I have always treated music videos like films inside music," he explains. "My attention to performance, production design, styling, casting, and post-production helped me understand how to build a strong visual and emotional world. That same discipline guided me in handling a longer narrative," Twitch reveals.
One might assume that stretching a story from three minutes to two hours would require a complete rethinking of pacing. Twitch disagrees. "Honestly, I did not feel a major difference in pacing. Every music video has its own rhythm and storytelling style. In the same way, Call of My Life has its own pacing that is unique to it."
He pauses, then adds, "For me, storytelling is storytelling, whether it is three minutes or two hours. The intention and emotional truth are what matter most."
So what made him feel ready? Why step off the familiar ground of music videos and onto the uncertain terrain of features? "I felt ready because I believe the universe tells you when the time is right," he says simply. "After years of building my craft, working on music videos, commercials, and short films, I felt mentally and creatively prepared. The opportunity came at the right time, and I trusted that feeling."
But trust alone does not carry a feature film. During production, something shifted inside him when he realized he was operating at a different level entirely.
"The biggest difference I felt during production was the level of tenacity required," Twitch admits. "A feature film demands consistency and strength from beginning to end. Maintaining that energy throughout was not easy, but that was the moment I understood I was operating on a different level of storytelling. It required endurance, patience, and focus, and I pushed through."
His visual instinct, sharpened by years of music video work, never left him. It only matured. "I pay close attention to detail, from set design to wardrobe to lighting," he asserts. "In Call of My Life, I used that instinct to create a world that felt real and emotionally honest. Every frame was intentional. I wanted the visuals to support the story, not overpower it."
Managing a larger crew could have been overwhelming for a first-time feature director. But Twitch had already prepared for that moment without knowing it. "Working with larger crews was not new to me because I had already worked in spaces that required structure and teamwork," he explains. "I believe my crew was a strong factor in the success of the film,” he adds. “Everyone understood their role and brought professionalism to the project; so, it felt like a natural progression rather than something overwhelming."
Directing actors in a longer narrative presents its own challenges. A music video might require a performer to hold a certain emotion for 10 seconds. A feature demands consistency across weeks of shooting. Twitch did his homework.
"I came prepared when it came to directing actors," he reveals. "I researched and studied how to communicate with actors in a way that helps them give truthful performances. I also believe in collaboration. By creating a safe and open space, the actors were able to trust me and give their best. Because of that, I did not face major challenges."
That safe space paid off. Early reviews of Call of My Life have praised the natural chemistry between the leads and the emotional honesty of the performances. It is the kind of praise that validates Twitch’s patient, actor-first approach.
Now that he has entered the feature film space, what comes next? What stories does Dammy Twitch want to tell?
"Now that I have entered the feature film space, I want to tell stories that matter," Twitch declares. "Stories that touch people, challenge them, and stay with them. For me, it is not about the scale,” he adds. “It is about the impact. I am interested in meaningful storytelling that connects deeply with human emotion."
Looking back at his early work, he can see the evolution clearly. The younger Twitch was focused on the frame. The older Twitch is focused on the feeling.
"My sense of authorship has grown stronger over time," he reflects. "In my early music video work, I focused on creating striking visuals and moments, even if some of my videos had emotional journeys and stories. Now, I think more about the overall message and emotional journey. I see myself not just as a director of images, but as a storyteller with responsibility. I am more intentional about the themes I choose and the legacy I want my work to have."
Call of My Life is not a loud film. It does not scream for attention. It simply sits with you, much like Dammy Twitch himself, patient and sure.
For a man who spent years inside other people's visions, his own has finally arrived. And he is just getting started.
