Tolu Obanro on Composing the Emotions of Nollywood Films

Filmmaking is more than what appears on screen—it’s a carefully orchestrated blend of elements working together to tell a story.

Among these, sound and music design play a subtle yet powerful role in shaping a viewer’s emotional journey. Productions like “To Kill a Monkey,” “Anikulapo,” “Game of Thrones,” and “Finding Messiah,” along with international releases like “Forever” and “Challengers,” all owe part of their magic to unforgettable soundtracks and musical scores.

It’s a role Tolu Obanro knows well. In an exclusive interview with The Nollywood Reporter, the Nigerian sound designer spoke about his musical beginnings, career-defining projects, and the intricate ways music elevates film.

His story starts in church, inspired by his mother’s role in the choir. “Growing up, my mother sang in the choir, and that’s how I started playing instruments in church,” he recalls. “I picked up the cleft at age five. I can play many instruments, but I settled on the piano. I started making beats when I was about fourteen or fifteen, and two years later, I produced my first choir album. Since then, I’ve been unstoppable.”

Obanro’s professional breakthrough came through industry connections, working on EbonyLife Films’ “His Excellency,” Kemi Adetiba’s “King of Boys 2,” and “The Prophetess”—all opportunities facilitated by Dr. Bayo. But his first big independent hit was Femi Adebayo’s “King of Thieves (Agbeshinkole),” the project that firmly put his name on the industry map.

For him, music is not an optional extra in filmmaking—it’s the emotional compass. “You can’t make films without sound,” he says. “It’s what lifts the emotions. It guides the audience to feel what the story wants them to feel.” He sees music as a translator between script and audience: “Sound helps interpret what we see on screen. It connects viewers to the emotions written into the story.”

Recognition has come from both industry insiders and fans, but one moment stands out. After his work on “Lisabi,” producer Pheelz tweeted: Whoever did the sound and music for this film is a genius. “I got tagged in the tweet and my DMs blew up,” Obanro says with a laugh. That validation pushed him to raise the bar with his next project, “Seven Doors.” Since then, his portfolio has expanded to include “Gangs of Lagos,” “Brotherhood,” “Battle of Buka Street,” “The Party,” and “Everybody Loves Jenifa.”

He approaches each film like a fresh puzzle. “Different scripts, different approaches,” he explains. “For ‘House of Secrets,’ I started creating sounds from my imagination before reading the script. But the sound didn’t fully come together until the end of the film. I look at the style, the genre, and think about how to make it my own. I’ll talk to the director, read the script, and watch the film—anything to find a new angle that’s not like my last work.”

Before diving into recording, he takes deliberate breaks. “I don’t just jump into making a film. I need days off to reset. It keeps my perspective fresh.”

To audiences who might underestimate the role of music, Obanro has a clear message: “You may not notice great sound design, but you’ll feel it. When you’re meant to feel sad, the music will take you there. It’s not about paying attention—it’s about letting the sound guide your emotions.”

Looking ahead, he’s excited about what’s to come. “I can’t say much yet, but there’s a horror film called ‘Idia’ based on Edo/Benin culture, a wild project called ‘Ginger,’ and an international film shot here in Nigeria. There are many exciting films coming this year.”

And when he’s not creating immersive soundscapes? “When I’m relaxing, I watch “The Good Doctor.” I’m on and off with “The Witcher” and “Designated Survivor.” Recently, I’ve seen “Head of State”and “Wheel of Time.”  I watch different genres to clear my head after a big project.”

For Obanro, whether he’s watching, composing, or brainstorming, the mission stays the same—finding the sounds that make audiences feel.