10 Questions for Biyi Toluwalase

In today’s entertainment culture, where visibility is often linked with success, Biyi Toluwalase is more interested in staying out of the spotlight.

The Nigerian film editor, whose work credit appears in major Nollywood titles like “Brotherhood,” “Passport,” and “Gangs of Lagos,” admits that he enjoys staying out of the limelight, even with his expanding portfolio and increasing recognition in the industry.

Toluwalase most recently served as Online Editor and Post-Production Supervisor on “Makemation,” a groundbreaking 2025 release described as Africa’s first AI-powered feature film.

Directed by Toyosi Akerele-Ogunsiji, “Makemation” tells the story of a young girl using artificial intelligence to tackle pressing challenges on the continent. The film premiered at the 2024 Global Artificial Intelligence Summit in Saudi Arabia before opening in Nigerian cinemas to a strong box office debut, grossing ₦32.9 million in its first four days

In this exclusive with The Nollywood Reporter, Toluwalase talks about his filmmaking journey, the realities of editing in Nollywood, and why he finds comfort in being unseen even while shaping some of the industry’s most-watched stories.

TNR: Can you share a bit about yourself that people may not know?

Biyi Toluwalase: One thing many people don’t know is that I’ve always dreamed of being a filmmaker, even as a teenager. Before secondary school, I already knew that this was what I wanted to do even when filmmaking wasn’t seen as glamorous or respectable. I’ve always had that dream, and I’m grateful to be living it in some way now.

How did you discover film editing in Nollywood?

Funny enough, I didn’t know anything about editing for a long time. I initially wanted to be an actor, then I discovered writing, and later fell in love with directing. Editing came along just because I wanted to handle some basic things myself. I never planned to go professional with it.

But after NYSC, while I was still chasing directing gigs, editing jobs started coming in. They kept getting improved. Before I knew it, I was fully in.

How has your experience been navigating Nollywood as an editor?

It’s a thankless job. Most editors, me included, don’t get the spotlight. But honestly, I like it that way. I’m not a fan of attention, so it works for me. Some editors may feel underappreciated, but personally, I’m fine with being behind the scenes.

What does success mean to you?

For me, success means staying relevant, doing good work so consistently that people keep calling you back. As long as my name is still in rooms that matter, I’m good.

What was your initial reaction to the “Makemation” footage, and how did that shape your editing?

I had already read the script, so I was emotionally prepared. I knew it was a story full of emotion and family drama. When I saw the actual footage, it matched what I had imagined, and that got me excited. Projects like that are easier to work on because you’re already aligned with the vision.

Do you believe the film editor is the final storyteller? If yes, how do you handle that responsibility?

Absolutely, film editors are the final storytellers. That’s a fact. I always tell people that editing is, first, about storytelling. The technical stuff comes second.

That’s why the relationship between a director and an editor is crucial. When there’s synergy in how they both see a story, things flow better. I have a degree in Playwriting from Obafemi Awolowo University, and I’ve always been drawn to writing. That background made it easier for me to pivot to editing. It’s still storytelling: just a different form.

Was there a moment in “Makemation” that felt personal to you?

Yes. There’s a scene where the lead character struggles to save up for a gadget. That hit home. When I started editing, I didn’t even have a laptop. I used my friend’s and could only work at night when he was asleep. Eventually, my siblings helped me get my first laptop. So that scene really took me back.

How did “Makemation” challenge or change you, professionally and personally?

I was both the Online Editor and Post-production Supervisor, which meant I had to manage the largest post team I’ve ever worked with. It stretched me. There was a lot of pressure, especially with the VFX. At some point, I wondered if we should outsource, but the Executive Producer insisted it had to be 100% Nigerian.

Looking back, I’m grateful. It pushed me mentally and creatively.

What do you hope people feel when they watch your edit on “Makemation”?

The film’s message is powerful: you can achieve great things from small beginnings. If people notice the editing, I just want that message to resonate.

What advice would you give to upcoming film editors trying to stand out in Nollywood?

Just keep doing the work. I didn’t start with blockbusters like “Gangs of Lagos” or “Sistas.” I started with films that were shot in four days that needed to be ready in two weeks. I did that for three or four years, and that’s where I really learned.

There are things I can handle now because I’ve been through that grind. Also, I’m a religious person. A lot of doors that opened for me, I can’t fully credit my skills alone. I struggle with networking, but I believe if you do the work and trust God, things will align.