The Nollywood writer-actor, who made his cinema debut with “The Benefactor,” reflects on the craft, the challenges of screenwriting, and why this story matters.
“No script, no story, no cinema” — in no particular order is how Temiloluwa Fosudo sums up his truth about filmmaking. For the Nollywood actor and screenwriter, whose latest work is the newly released psychological drama The Benefactor, the hardest part of the filmmaking process happens long before cameras roll.
The son of veteran actor Olusola Fosudo, whose credits include Glamour Girls (1994), Karashika (1998), In Ibadan (2021), and The Artifact (2024), Temiloluwa grew up steeped in stories. That early exposure shaped his artistic instincts and eventually led him into acting and writing.
His portfolio includes roles in In Ibadan alongside his father, A Green Fever (2023), House of Ga’a (2024), and The Man Died (2024). But one of his most notable projects to date remains The Griot (2022), the Adeoluwa Owu-directed Netflix drama in which he both starred and wrote the screenplay, crafting an emotional tale of love and friendship.
With six years of experience since his 2019 short film And The Winner Is…, Fosudo has navigated the industry as both an actor and writer.
Speaking to The Nollywood Reporter in an exclusive interview, he reflected on the demands of screenwriting, his approach to The Benefactor, and the challenges of telling sensitive stories on the big screen
Screenwriting in Nollywood
No doubt, screenwriters are the essential foundation of every film. They are responsible for crafting the story, developing characters, writing dialogues, and establishing the overall structure of the narrative. This pivotal role, according to Fosudo, represents “the hardest part of the filmmaking process.”
This also aligns with the parlance: “There is nothing scarier than a blank page or a blinking cursor.” Screenwriters, as Fosudo pointed out, hold the responsibility of creating something entirely from scratch, unlike other members of the film crew. He noted that people often don’t quite get that being a screenwriter is much more important beyond merely putting words together. It is time consuming.
“Screenwriters are often neglected and cheated. For how important the script is to the success of a film, screenwriters are criminally underpaid, and our work is often overlooked. Screenwriting is like a conductor of an orchestra leading all the parts to form a unified harmonious song. It takes time because there are so many parts in this orchestra called filmmaking and the script must contain a blueprint for each part,” he said.
“Apart from being a screenwriter, I’m a producer, an actor and a director and I can say categorically that it is the hardest part of the filmmaking process. Perhaps along with editing, which I consider to be another form of writing, writing with the use of images instead of words.
The screenwriter is the only one creating something out of nothing, while the other artists use what the screenwriter has magically created to continue the creation process. It’s a difficult job and I need all screenwriters to know their worth, fight for it and always think of the big picture. I am not criminally underpaid though, just underpaid,” he shared.
As a screenwriter in Nollywood, Fosudo isn’t just one who writes without the audience in mind. For him, achieving a personal script like The Benefactor that connects with a wider audience begins with him.
“I’m the audience too, so If I can connect with what I’ve written then other people will, too. Although, I wouldn’t say The Benefactor is personal. I mean, it is far removed from any firsthand experiences I have had and on top of that it’s a woman’s perspective,” he said.
Despite being a female lead character film, Fosudo said emotional relatability is what makes The Benefactor what it is. As a man, his experiences, juxtaposed with Tuntunlade’s character, may differ, but he knows people with similar experiences.
Aside from their gender differences, being human also means that he can resonate with Tuntunlade’s struggles of betrayal, desperation, and vulnerability to draft the story. “I use these emotions to create realistic characters and believable situations,” he added.
On how screenwriters are credited in Nollywood, Fosudo said that many times, producers forget to credit screenwriters. According to him, by International standards, screenwriters ought to get above-the-line credit alongside the director and producer, but they are often forgotten.
Reaction to Big Screen Debut with “The Benefactor”
“Oh, I was pleased; I love the cinema. Sitting in the dark hall to enjoy the magic of a story being told to me on a big screen, it’s one of the best feelings in the world,” he expressed, reminiscing on his first reaction after finding out that The Benefactor is hitting the big screen.
Going down memory lane, Fosudo recalled ‘cinema’ as a culture cherished in his family. It was not only a culture but a legacy his father brought them up in. It transcended from his father to his siblings as well.
“Going to the cinema or the theatre to see a play is part of our family culture. My father used to take us occasionally, as a family, to the cinemas especially. Then, my elder brother and I made it a weekend tradition in Ibadan for a while, and I tried to carry on the culture with my younger sister although not as often. So now you can imagine the joy in my heart knowing that I can go to the cinema and see a film I wrote and featured in,” he said.
One might think that The Benefactor was inspired by a passing thought or a personal experience, but Fosudo confirmed otherwise. He stated that the inspiration behind the story came from the producer Folakemi Bello alongside the director Adeoluwa Owu.
“We discussed it, threw some ideas around and then I went ahead to develop the story and write the screenplay. It’s a story that needs to be told, so I’m happy I got to write it.”
Writing for Streamer and Cinema
Streamers usually are a platform for films to be viewed on little screens from the comfort of living rooms, or offices. On the contrary, cinemas offer bigger screens. In comparison to his previous streamer work, The Griot, Fosudo disagreed that the medium ultimately determines the tone, pacing, and construction of a story. Instead, he believes sometimes, it is solely at the discretion of the storyteller to determine that.
“The story is intimate, and sensitive and it is the most important thing. I have done a lot of writing for TV, theatre, radio and film so I know that certain stories might do better in a specific medium and the medium shapes how a story is told but ultimately, it is the story and the storyteller’s intention that determine the tone and pacing of a story, not the medium,” he said.
Imagination is vital in crafting a visual script, as Fosudo demonstrates. This ability enabled him to create intricate scenes in The Benefactor. He took it a step further by acting out scenes and reciting lines aloud, ensuring a dynamic and engaging narrative.
“If, as a writer, you fail to imagine how a scene would play out in performance and for the camera, then you will most definitely write a poor scene. The more detailed your imagination of a scene is, the better for everyone working on the film. I say my character’s lines aloud, I act out the scenes, sometimes with movement, I imagine the space, and the blocking.”
The task as a writer, according to him, is to weave the details of his imagination in a way that seamlessly leads the director’s imagination on how he wants the scene to be realized. As an actor, he acknowledged that shooting may be a different ball game because physical details of production can alter what the writer intended. However, it is up to the director to merge what he has written with his own ideas, and with what is unfolding through the process of physical and collaborative creation.
Reuniting with Director Adeoluwa Owu
Having worked with Nollywood director Adeoluwa Owu on The Griot in 2022, with The Benefactor, which marked their reunion as writer and director, Fosudo considers their relationship more personal now.
“When we made The Griot, we were just getting to know each other. Now, we have done more business together and talked about more stories. We respect each other and share ideas seamlessly. With The Benefactor, we communicated a lot more than we did with The Griot. Ultimately, he lets me do my work as the writer and I let him do his work as the director.”
Like acting in The Griot while working with Owu, he said doing the same in The Benefactor didn’t exactly influence his writing as wearing both hats is not new to him.
“Since my University days, I have been producing and acting in my own plays, so I’m quite used to it. When I wrote The Griot, I didn’t know I was going to act in it, and it was the same for The Benefactor. However, Captain Degzy, who directed both films, trusts me as an actor so it’s easy for us to talk about where I can fit in that capacity, after the script is done.”
Considering his relationship with Owu, he said it made the writing process for The Benefactor smoother and didn’t put him under pressure of any sort. According to him, the relationship he has with the director is built on “respect for each other’s ideas.”
He said that the greatest thing that he has learnt from acting in his films is to forget as much as possible that he is also the writer. “Once you trust the director, you won’t be too stuck on your own imagination of how you expect the scenes to turn out. I give in to the process and let innovative ideas arise. A writer works in solitude, but an actor works with other artists. As an actor, I give in to the collaborative process, for better or for worse.”
Fosudo noted that there was a scepticism regarding the extended duration of the storyline involving the younger Tuntunlade. This was on the feedback he received from Owu and the producer about his perspective on the story. According to him, he was able to convince them that it was important not to treat it like a backstory, and they later explored it as a major part of this character’s painful journey.
“It was important for me that we gradually digest the emotional impact her childhood had on her, which then culminated in her decision to fight for justice as a grown woman. However, what the director brilliantly did was make the plot non-linear which I think increased the emotional impact of the film,” he explained.
Creating Tuntunlade Character and Themes in “The Benefactor”
Tuntunlade (Bimbo Ademoye), the lead character in The Benefactor, is a complex and compelling figure. As a breakout star on the brink of fame, her life dramatically shifts when her benefactor imposes an outrageous demand.
She stands at the heart of the film’s crucial theme of sexual abuse, making her character both poignant and powerful. Sharing his approach to developing the character, Tuntunlade, Fosudo described her as the “most delicate” character he has ever written.
“Tuntunlade is perhaps the most delicate character I’ve had to write. This is a girl who is sexually abused as a child, unprotected by her guardians and then as a grown woman she is abused again by her benefactor, which then prompts her to seek justice.”
The Benefactor writer said he wanted Tuntunlade to be vulnerable, yet courageous. He didn’t want her to carry her pain in every moment. He didn’t want her to wallow. According to him, the victory of her life is that she continued to thrive in spite of these unfortunate events that could have broken her.
Acknowledging his support system during his writing process, Fosudo noted that his wife, who is a feminist, was very instrumental. “I spoke to my wife a lot while writing this to get some female perspective. She’s a feminist and these are topics she is passionate about, so she was particularly helpful.”
He also referenced watching the Indian documentary ‘To Kill a Tiger’ and a couple of films. While they were a difficult watch, they helped put him in the right mood to write The Benefactor.
The actor-writer cited themes and emotional truths he knew had to stay in the story, especially nuances around sexual abuse—like how people try to sweep such sensitive topics under the rug despite its prevalence in society. He also cited the nuance to protect perpetrators or hide the crime because of familiarity, status, and shame.
“It’s a really complex situation to deal with for the survivors and those around them. It is also difficult to get justice in court and there’s the psychological trauma you deal with all your life, even if you get justice. How do you move on with your life? Can you forgive those who should have protected you? All these are pertinent themes and questions explored in the film.”
Contribution to African Cinema, Audience Reception and Legacy
The Benefactor may not be the first film to explore sexual abuse but one way or another, it adds to the catalogue of similar films as far as African cinema is concerned.
As such, being the writer of The Benefactor, Fosudo believes that African cinema should be a tool for societal change. The Nollywood screenwriter, who adores the Iranian cinema, said that African cinema needs to tell more stories that can awaken consciousness and poke at consciences. He hopes that The Benefactor can inspire more filmmakers and marketers to make and promote films with serious and heavy themes like sexual abuse.
“This is not to say that our films shouldn’t be fun, but it should still be meaningful. It’s a rarity to see a film on sexual abuse in Nigerian cinemas. They’re mostly shown at festivals and other kinds of film gatherings but not so much in the cinemas, for the general public.”
Responding to what his expectations are for the audience reception of The Benefactor, he said, “I expect everything, and I expect nothing.” He noted, above all, he has no control to dictate how the audience would react to watching his work.
“Art is a living, breathing thing. Once an artist has done his work and put it out there, it would be wise not to expect a specific kind of reaction or reception. You can hope for a good reception but it’s not something you can control after it’s out there,” he said.
Thriving in Nollywood as both an actor and screenwriter, Temilolu Fosudo, like every artist, wants a legacy that can reflect the authenticity and quality of his craft. He hopes to be an inspiration to other writers who are also actors to keep building their craft alongside each other. “You don’t have to give one up for the other,” he echoed.
“I hope it opens more doors for me. I have more personal stories that I am eager to tell. Finally, I’m sure it will keep me on my toes, I have so much more to offer and so much more to learn,” the younger Fosudo said.