Before Sulaiman “Spotlyt” Ogegbo became the filmmaker behind one of Nollywood’s ambitious genre projects, he had already explored multiple creative paths. He spent years working as a music artist, radio host, and video director, gradually refining his craft. That experience eventually paid off when his work went viral, opening doors to opportunities within Nollywood. He began with short-form content, building a reputation and steadily gaining prominence in the industry. Just a day before production began on the zombie-apocalyptic thriller Alive Till Dawn, Ogegbo received the call to direct the film, and he stepped up to the challenge.
“I was brought on board with the excitement of everyone in the crew,” he recalls, reflecting on the early days of the project. Interestingly, zombie thrillers are not typically the type of scripts he would choose for himself. Ogegbo says he is more drawn to the intersection of horror and the supernatural and hopes to craft stories that explore those elements within distinctly Nigerian settings in the future. Films like Blade and The Mummy are closer to his creative instincts. “Road to Jabi and Alive Till Dawn are both genres I will not necessarily go into myself,” he adds.
A Reunion and a Risk
The project was not entirely new territory for Ogegbo. Years earlier, he collaborated with producer and close friend Leo Obienyi on Road to Jabi, an experimental short film widely regarded as Nigeria’s first zombie short. “There was a short film I directed with Leo titled Road to Jabi, which was the first zombie short film ever made. I am drawn to very unique and exciting projects, so when they told me that the film would be a zombie film, I was just happy to be part of the project, payment be damned,” he says. The short film premiered in several cities and laid the groundwork for what would later become Alive Till Dawn. “Leo called me because he had seen my previous works, so I jumped on it immediately. It was a massive success, and that is what gave birth to Alive Till Dawn.”
Convincing Nigerians to Believe in Zombies
Scaling the concept from a short film to a full-length feature brought new challenges, particularly convincing Nigerian audiences to embrace a zombie film. “Creating a zombie film for Nigerians is a challenge on its own because Nigerians will naturally come for you for making this type of unfamiliar film,” Ogegbo explains. Even on set, the unfamiliarity with the genre created some hurdles, as many actors had little reference for how zombies should behave. “Most of the actors didn’t know how to act like a zombie. You know there is a difference between a zombie and a crazeman or aggressive person; it is usually a thin line. Some overdo, some underdo it, so we did our research and taught them the balance between both.” The preparation paid off in performances that balanced realism with the horror aesthetic.
Why Nollywood Horror Remains Untapped
Nollywood has a long history with horror films, from Nneka the Pretty Serpent to Living in Bondage. However, Ogegbo believes the genre has often been narrowly defined, largely rooted in spiritual or supernatural storytelling. For him, Alive Till Dawn represents the possibility of exploring horror more broadly. “Nigerians won’t even advise you to go into fictional horror; they will rather you do it as a supernatural lore like village witches. If you watch films like The Conjuring, which is an epitome of true horror, you will realize that there are a lot of elements that go into making a good horror film,” he says. Ogegbo argues that limiting stories to familiar territory prevents divergent thinking and inhibits the genre’s full potential.
He adds that horror can be combined with other genres to create richer narratives. “You can make a horror film, and within the film, there is a love story there. We limit ourselves to stories like Ms Koikoi. Not all horror films have to be spiritual. The downside of sticking to the familiar is that there is no room for divergent thinking,” he explains. Reflecting on earlier Nollywood horror films, he believes many were shaped by superstition. “Some of the old plotlines of our classic Nollywood horror films were superstitious and used to instill fear in us as children. There are so many beautiful stories that should be told beyond that now.”
Building a Horror Atmosphere
Directing Alive Till Dawn required more than managing performances; it demanded careful attention to mood, sound, and audience psychology. Ogegbo relied on his background in editing and sound production to ensure the viewer experience was central to every creative decision. “We had to put ourselves in the audience’s shoes just to understand what people would want to see in a zombie film, thereby setting the mood and atmosphere for the film,” he says. Despite comparisons with bigger-budget productions, he remained focused on the film’s goals and audience response. “Most Nigerians always compare the film to big budget productions like Walking Dead and Train to Busan, forgetting that Leo took a big risk with a considerably smaller budget, and we did what we set out to achieve. Audience reactions have been really great.”
Life on Set
The production brought together an experienced cast, including Uzor Arukwe, Shine Rosman, and Michael Dappa. Ogegbo deliberately fostered a positive set environment, which he considers essential for creativity. “My experience working with everyone on set was fun, especially Uzor. That was my second time working with him but first time behind the scenes. He is a complete professional. Shine was also amazing as it was my first time working with her. Michael Dappa was on Road to Jabi, so it was very easy working with these guys,” he recalls. Maintaining a supportive atmosphere allows the team to perform at their best. “As a director, it is very important to create a healthy atmosphere on set because emotions fly everywhere a lot. One little mistake can cost the production a lot of money,” he says.
Ogegbo also stresses the importance of recognizing crew members, not just the cast. “Praise is very important because everyone needs to feel carried along. It is very easy to forget people in times like these because all you see is the cast getting all the praise while the crew are left behind, so it is important that you give people their accolades,” he explains. Collaboration, he notes, is essential. “People who have been doing it for years have been collaborating because no man is an island.”
What Keeps Him Grounded
Beyond fostering a healthy set, Ogegbo prioritizes his own mental wellbeing. “I take care of my own mental state by staying around people that help me get into the right space mentally. A big shout out to my best friend,” he says. For Ogegbo, personal stability directly influences professional output, especially when managing complex productions with high stakes and tight budgets.
What’s Next
Beyond Alive Till Dawn, which is currently showing in cinemas, Ogegbo is already working on several new projects. “First things first, I have a short form content series called Shadow Agents, which can be found on my social media. I have an ability to create amazing fight sequences because I make the best fight sequences in Africa, I stand to be challenged,” he says. He also has two major films scheduled for release later this year. Among his favorite zombie titles are Train to Busan and All of Us Are Dead. “I would have said Walking Dead, but their zombies were slow.” With credits including Merry Men 2, The Waiter, Wrath & Revenge, and Blood Vessel, Ogegbo has established himself as a leading action and stunt director in Nollywood. Distributed by Nile Entertainment, Alive Till Dawn is currently in cinemas and is expected to appear on streaming platforms soon.