INTERVIEW: ‘I faced molestation from producers, actors, including married men, women’ – Filmmaker Stanley Ontop

His hairstyle stands him out in the crowd.

Either braided, in cornrows or packed up in bantu knots, Filmmaker Ajemba Stanley’s hair is about his first distinguishing signature in the industry.

Also known as Stanley Ontop, the filmmaker has been working in different capacities in Nollywood, since 2013.

From set and props designer to producing in Nollywood in Asaba, Delta State, Stanley has been demonstrating his resilience and determination to break into the big league.

While he eventually gained notoriety, it was linked to the death of his colleague, Jnr Pope. He was instrumental in informing fans, media, and colleagues about the circumstances that surrounded Jnr Pope’s death and the other five crew members who died.

Subsequently, he bravely stepped forward as a vocal advocate for the often silenced crew and production teams in Nollywood, who had long endured unfair treatment, wage disparities, and mistreatment.

Moreover, during the infamous Ladipo kidnapping incident in Mushin, Lagos State, in July, it was Stanley Ontop who broke the news that one of the notorious slain kidnappers, Henry Odenigbo, who was shot by the police, was a filmmaker and ‘ringleader’ of the kidnappers.

These events have generated controversy around Stanley Ontop and thrust him into the public eye.

In this exclusive interview with PREMIUM TIMES, he discussed his humble beginnings, the treatment of crew members in Nollywood, and other issues.

Excerpts:

PT: When did you start your career in Nollywood?

Stanley: I joined Nollywood in 2013 or 2014. I came to Asaba searching for greener pastures and discovered that my friend was going to a film location one day. I’ve admired acting all my life, so when I saw him, I said, ‘Let me go with you to this set’. When we reached the location, I found it very interesting. I started as a part of the crew members who share food on sets; we call it welfare in Nollywood. That’s the only thing we do. From welfare, I migrated to being a Production Personal Assistant, carrying generator sets and doing any chores at the location. I migrated From a Production Personal Assistant to a Personal Assistant for some stars.

I don’t want to mention their names. I was a Personal Assistant for three months. After that, I switched to Assistant Production and Sets. From there, I became my boss in property and set. I have worked on many movies, such as Spirits of Music and Yemoja. I’ve worked on no less than 200 behind-the-scenes movies and as a producer.

We collected money from people and produced for them because we needed more to generate income and build a portfolio for ourselves. From there, I became an Executive Producer. So, I quit working as a props and set designer because it was very stressful. I started making my movies, selling them to African Magic and then uploading them on YouTube.

I am the Delta State Chairman of the Creative Designers Guild of Nigeria (CDGN), comprising makeup artists, costumers, props asset managers, and stylists.

PT: What were some of the early challenges you faced?

Stanley: The early challenges I faced included molestation from producers and actors. Many people wanted to sleep with me, including married men, married women, and people in positions of power.

In our industry, we have gays, lesbians, and bisexuals, and they disturbed me a lot. Eventually, they started denying me jobs and blacklisting me. I went through many things: molestation, attempted rape, and every other bad experience you can imagine in Nollywood.

PT: In what way do they approach you?

Stanley: They will just come because they have power. They see you need a job to survive, and they will come out plain to you. They won’t miss a word but will come directly and say, ‘Come, let’s go to my hotel, let’s do this, let’s do that’. They know you cannot reject them. If you do, you are finished because you are an upcoming producer or a crew member.

Generally, Nollywood treats crew members as trash, even though most of the crew members are the ones making the films turn out perfectly.

After seven or fourteen days of production, you can see a PA getting paid N10,000. Meanwhile, they have paid actors N1.7 million, N2 million, and N5 million. A makeup artist or costumier might receive N40,000 or N30,000 for seven days, six days, or one week of work.

PT: Which role do you find more creatively fulfilling, and why?

Stanley: I’m not an actor, and that’s what many people get wrong. I played a sub-lead in almost 70 scenes in one of my movies, ‘Royal Ravage’. I looked for a teen actor who could act and deliver what I wanted, but I couldn’t find anyone.

I had to shave my hair, look like a teenager, and play the role, which I did well. So, I don’t act. Acting and crew work is very stressful. I can’t be acting and producing at the same time; my mental health would be at stake.

PT: What has been your most memorable experience as a producer?

Stanley: The most memorable experience I had was the day I went to shoot a movie called Yemoja in Ibadan. Our boat almost capsized in the river, and it was by God’s grace that we survived because we were not wearing life jackets. This happened in 2020. We shot the movie in Ibadan, and I was the set man there. It was the biggest movie I’ve ever worked on, and the last one I worked on was as a propsman. That made it the most challenging film I’ve ever shot.

PT: What themes or messages do you convey through your movie; how do you approach storytelling to achieve them?

Stanley: In most of my films, I tell how a poor boy who has nothing becomes a rich man. In most of my movies, I tell my life story. I share my life experiences and things that have happened to me so that people can learn.

I started from nothing, from a place where we didn’t have enough to eat. My family didn’t eat rice on Sundays. We didn’t know what rice was. The only time we ate rice was maybe on Christmas Day.

We were so poor that it was tough for us to get enough food. My parents stopped paying for my schooling when I was in Junior Secondary School class three (JSS3). I supported myself from JSS3 to SSS2.

That was when I wrote my exams and finished school. So, in most of the movies I produce, there are lessons to be learned by the end of the film. You’ll see that being bad is not good, and being kind is good.

PT: In your opinion, what makes a movie more impactful and memorable for the audience?

Stanley: Number one is the story. If the story is engaging and well-crafted, it’s finished. It would have a more significant impact on the audience. Number two is your camera. You need a quality camera that will allow the people in the movie to be seen clearly. Number three is sound. These three elements are essential; your movies can’t sell without them.

A good storyline, high-quality visuals, and clear sound are crucial. It’s not just about featuring star actors in your film; you can work with an actor who isn’t a celebrity but can effectively interpret a role.

PT: Which directors or producers have influenced your style, and how have they inspired you?

Stanley: The person who has inspired me the most is Ernest Obi. He’s a Nollywood film producer and director and one of the best in the industry. I consider him my favourite because he is confident in his work and encourages others by saying, ‘’You can do this’’.

Another person who has significantly impacted my production journey is Oma Nnadi. She has influenced me with her African stories and how she treats her crew members. I fell in love with her work. Even when I was working with her on my first movie, ‘Madam Landlady’, she was very supportive and pleasant.

PT: What has been your most exciting project?

Stanley: The project I’m most excited about is ‘Royal Ravage,’ which I produced for a Nigerian woman based in Germany. She sent me N3.8 million to make the film. I transferred the total amount to the director because I trusted him. I didn’t know the director had taken a chunk of the money when we got to the set. He didn’t pay most of the actors.

I didn’t want us to have any issues on set. I worked hard to make the movie, and it turned out great. The film we produced for N3.8 million generated more than N30 million for the woman who financed it. That was my best movie.

PT: What do you believe is wrong with Nollywood?

Stanley: Many people don’t know anything about Nollywood. They don’t even know what filmmaking is. They feel they have money and could produce anything by paying actors. They feel like N10 or N20 million—if they give it to someone, they’ll make movies. No, you need to learn filmmaking. Filmmaking is a professional business.

You need to learn and understand what it takes to be a producer. You must come in and be more than just a nominal producer. I have told the Actors Guild of Nigeria (AGN) that they should declare all the people holding their cards invalid because many individuals who have not been recognised or registered have found their way into Nollywood.

Once they are good-looking and charming, they are given an ID card as a Nollywood actor, even if they have never acted in any movie and end up using it for other purposes. On the producing side, they (unrecognised producers) feel like once you have N10 million, they can come and give them (Nollywood Guilds) N100,000, and they will register them in the Producers Guild or others and give them ID cards.

They (Nollywood Guilds) should scrutinise and investigate before admitting anyone. They should know about the person. Recently, a producer was revealed to be a kidnapper. We have a lot to discuss about Nollywood.

PT: You alleged your colleague, movie producer and CEO of Ason-Rich Movie Production, Henry Odenigbo, was the ‘‘ringleader’’ of the kidnap gang killed in the Ladipo shootout. How did you arrive at this conclusion?

Stanley: The appropriate bodies should scrutinise everyone who comes into Nollywood. You cannot just bring kidnapping money and invest it in Nollywood. It’s not good.

Nollywood loves money. You can bribe them and do anything. You can even bribe them in Nollywood and kidnap somebody there. They love money. They can sell anything for cash in Nollywood. They worship money too much. That is their (Nollywood) problem.

PT: How can the industry better handle this situation to protect its reputation and ensure fairness?

Stanley: Before anyone comes to Nollywood and says they want to act, they should go through the audition process. Then, before they issue anyone an ID card as an actor, the person should have been featured in at least 50 movies. Again, before someone becomes a producer, you must investigate their finances. Check their accounts.

Investigate to see if they are ex-convicts or have done anything wrong in the country before accepting such a person into the Producers Guild. But here, our guild operates differently: once you have money, you can bribe one or two people. For N100,000, they will admit you into the guild.

PT: What measures need to be proposed to improve transparency, accountability, and commensurate payment in Nollywood?

Stanley: A makeup artist should be paid at least N100,000 and possibly more because of inflation rates. The costumier should be compensated with at least N500,000, depending on the movie’s script and needed materials. Additionally, props and a set designer should receive the same amount as the costumier—N500,000.

The actors starring in one, three, or four scenes should be paid fairly. It’s unacceptable to pay them N2,000 for just one or two scenes. I’ve seen and heard that elders (older actors) who act alongside Igwe (the King in Igbo movies) receive N10,000 after their performance.

No, they deserve to be paid very well. Once they’re invited to a film set, the producer should provide them with a form to complete. There should be accountability, but currently, that is different. If you speak up, they will blacklist you and stop giving you roles. I’m speaking out now because I’m no longer working for anyone; I’m the master of myself.

That’s why you see me coming online to voice my concerns. Before, I couldn’t speak out; if I did, I wouldn’t get hired again.

PT: You alleged your colleague, Jerry Williams, was into drugs; how do you think Nollywood can address the consumption of illicit drugs in the industry?

Stanley: First of all, on 15 July 2023, Jerry Williams was suspended for the consumption of illicit drugs. It was his neighbours who called the AGN instead of the NDLEA. Consequently, the AGN swung into action. When they broke down the door, one of the actresses who was using the same drugs as him fled through the window while they caught Jerry Williams. From there, they took him to rehab.

While in rehab, a family member said, ‘Our brother is okay. Why are you putting him in rehab?’. That was how they fed him false reassurances. He returned and continued using drugs. If you look at Jerry Williams now, you will not recognise him. He has sold some properties, including his television and centre table. If you enter his house, there’s nowhere to sit. He has used drugs extensively.

The drugs he takes are called colos, which are some of the most dangerous drugs on earth. As family and friends, we have repeatedly told him to stop this. ‘Stop this! We will take you to another rehab.’ We have talked to him so many times and sent delegates to his house, but he has refused help and is still using drugs.

That is why I came out online; before, people in Nollywood didn’t say anything. Now, one of the producers has said, ‘You guys should stop giving him movie roles. Take him to rehab so that he can get help. We don’t want to wait until he dies and then say we didn’t do anything.’

I have posted about this, and some people are bashing me. All the Nollywood actors and producers know that what I am saying is 100 per cent true. However, those outside the industry are in the comments section, talking nonsense—they don’t know anything.

I want Jerry Williams to be taken to rehab directly. In my last video, I said, “If you think I am lying and that you (Jerry Williams) are not taking drugs, please sue me for defamation. I will pay you. But before I pay you, you must take a drug test.” He has not responded to me, and I have not seen any lawsuits. So, I have spoken up.

PT: Do you think movies influence many actors to become addicted to drugs?

Stanley: No, I do not think so. Most of the cigarettes, smoking or alcohol consumed on movie sets are make-believe. It is just mime. That is what we call make-believe. They do not drink it; they just puff it out.

PT: What role can Nollywood leaders and other institutions, including the government, play in addressing this issue?

Stanley: It is the government now because Nollywood and AGN have tried. The last time they put Jerry Willims in rehab, the family said that AGN wanted to kill their brother, and AGN pulled back. So, I think the NDLEA should step in.

They should bundle him up and take him to rehab because he’s government property as an actor. For about one year, he should focus on calming himself down. I am calling on the government, specifically the Delta State Government and the NDLEA, to rescue him, not Nollywood again.

PT: How do you view the impact of social media on the public perception of actors and filmmakers?

Stanley: Most things you see on social media are not real. Take Nollywood actors and actresses, for example. Most of these actresses you see do drugs. It’s not just Jerry Williams; there are many others. They take drugs and are living a fake life.

Nollywood actors, primarily actresses, often go to places like Lagos, Dubai, and the UK to sleep with internet fraudsters who give them money. Then, they return to Nigeria to produce movies. They’re sex workers at night and producers in the morning. That’s what they do. They are living a fake life. That’s what I see with most of the female actors.

They buy houses, buy land, and buy cars. Meanwhile, the male actors are poor. The image they present online is fake.

PT: Thoughts on happenings in Nollywood?

Stanley: I would tell Nollywood I have not even started exposing them; this is just the beginning. I will call out anyone who does anything wrong. If you have a problem with that, sue me—we’ll go to court. But don’t use the police to intimidate me because I have police contacts. This is just the genesis of exposure in Nollywood, which will expose many people and many things.

I stopped producing because whenever I called actors for movie roles, they would say they were a chance in December and nonsense. They’ll go ahead and check producers’ YouTube channels and tell them the channels are not growing or making waves; hence, they (actors) accept the role.

PT: You witnessed the boat mishap that claimed Jnr Pope’s life; can you give us the details about it?

Stanley: I wanted to speak about something other than Junior Pope again, but I will just give you some hints. I am not going into full details. I will provide a hint about what made me come on the timeline. My friend called me and said, “Look at what happened. The boat that TC was in capsized. They have not seen TC; they have not seen Junior Pope.” I lodged close to the hotel where they were filming, so I had to drive immediately to the scene. As I was driving and still on my way, they said they had rescued TC and six other people but had not seen Junior Pope.

I said, “Okay,” and continued driving. When I was getting close to the river bank, I saw the divers coming towards us, and they brought Junior Pope. He was already dead because the mariners there had performed CPR and confirmed him dead. My pain was that the producer was supposed to give these people life jackets.

They alleged that the production manager gave Junior Pope a life jacket, but he said it was dirty. What happened to changing the life jacket? There were many new jackets in that marina. Junior Pope was a superstar. A superstar came to you and said this life jacket is dirty; get me a new one. You ignored him and took off the boat on the water instead of getting him another one.

I think they should charge the producer with manslaughter. That is my opinion. Then again, when the incident happened, I didn’t go live. I was sober. I was even crying uncontrollably until we went to the hospital. When we got to the hospital, we found out that Junior Pope was not even taken to the hospital; he was taken directly to the morgue. So we raised the alarm. We said, “No, they should take him to the hospital.”

They got a call because the President of AGN, Emeka Rollas and the chairman of the AGN of Delta State were there. Then, I was not the chairman of CDGN; I was just the task force chairman of CDGN. My chairman was there, so the man from the marine called and said they should bring Junior Pope to him so that they could perform some rituals to bring his spirit back from the river and then take him to the hospital.

PT: You also said Jnr Pope was taken to a native doctor.

Stanley: That was when I went live. They had already decided to see the native man so he could perform some rituals. The only offence I committed was going live and telling the country that their superstar was still alive. I was not the one who confirmed it; he was still alive. I had 25,000 followers on my Instagram then, and when I went live, I had almost 50,000 views. I was tense and talking a lot. My only crime was going live and telling people that this guy was alive. I didn’t know it was a crime in Nigeria because I’ve never seen it in law. I was not the one who took Junior Pope to a native doctor. If you watched my Instagram live that day, you would realise that I wasn’t even driving. I didn’t drive my car.

Thank God I’m an influential person. If I wasn’t strong, I might have committed suicide by now. The pressure was so great people would insult me, call me a killer for making a video, and threaten to deal with me. So that was what happened, that’s it.

PT: But some of your colleagues allegedly used the situation as content.

Stanley: A lot of people used it as content. People even said that I’m the clout chaser and that I’m using Junior Pope as content. I asked myself how because I don’t have a Facebook page or make money from Facebook, but I need to find out what a Facebook page looks like. I make my money from crypto, not Facebook. So, even these Nollywood actors and content creators were using it to monetise their Facebook pages, making videos, posting them, and spreading fake news. In Nigeria, people love phoney news more than original news. That was it.

PT: How do you think such incidents could be averted on a film set?

Stanley: They should have at least three or four divers with their separate boats if it’s professional filming on or around water. Even if the actors don’t want to wear life jackets because the scene doesn’t require them to, you should have divers behind the camera, close to where they are filming.

In case of an accident, the divers will dive immediately and rescue them. And again, in this case, they were not even filming on the water; they were crossing over. Why didn’t they get extra boats with divers to follow them? That is professional filming. If you are filming in the water, you must have divers and life jackets. If you are crossing the water, you should wear life jackets. It’s even an offence for someone not to wear a life jacket; it’s punishable under Nigerian law.

Nollywood should be seen as a professional business. Four or five divers should escort the stars across the river in a separate boat if you are filming on water. This incident wouldn’t have happened if they had this kind of precaution.