Lani Aisida, popularly dubbed the King of Web Series, is one of the most compelling voices shaping contemporary Nigerian television, with several African Magic original films to his credit. Although he started out as an accountant, Aisida has since emerged as a leading force in Nigeria’s digital and television storytelling space.
His debut project, Plus 234, marked his entry into television and quickly set him apart, opening doors to multiple Africa Magic productions and his TIFF-recognised feature film, Just Not Married.
In his most recent film, The Herd, Aisida delivers a gripping portrayal of Nigeria’s banditry and kidnapping epidemic, confronting uncomfortable truths many would rather ignore. Speaking with eelive.ng, he reflects on the inspiration behind the film, his creative journey, and his rise as a strong voice in film and television production across the African continent.
Excerpts:
You once mentioned that you initially wanted to become a rapper before discovering your true path in TV and film. Can you walk us through that transition? How did you realise storytelling was where you truly belonged?
From a young age, I actually thought my future would be in music. I loved Nigerian music before it was a cool thing to love Nigerian music. I wrote songs, forced my sister to learn the lines, got my cousins to be back top dancers to the patient audience of my bedroom mirror. I was always in Yaba buying one CD or the other – I’m an album guy. I remember my dad seizing my CD collection once because I misbehaved.
Anyway, I went from dreaming of being a recording artiste to being behind the scene; managing talent and organising a weekly music gathering – Talents @ Gidi (t@g). However, the real connection to TV and film came from my day job as a chartered accountant. I went to Soji Ogunnaike’s office to do his books but we ended up talking more about film than accounting. During that conversation, I shared an idea I had developed from my experience working in a call centre. That idea eventually became ‘Plus 234’. We set up a company, produced it and as they say, the rest is history.
Looking back now, my strength in writing dialogue can easily be traced to my love for rap bars. One of my favorite writers, Aaron Sorkin says dialogue is rhythmic, and I strongly agree. I like my dialogue to have a cadence, almost as if I’m writing bars. Oh yeah, at some point in between that, I had a blog that I believe helped me improve my storytelling.
At what point did you decide to leave accounting behind and fully commit to screenwriting and filmmaking? Was there a specific moment, experience, or turning point that made everything clear for you?
Just before I got married. I knew that it’d be a rough few months ahead so I figured it was best to start experiencing that turbulence alone before bringing another person’s daughter into my situation. I remember my boss encouraging me to do both but I really thought being laser-focused was the best approach for me at the time. So I quit my day job.
Accounting gave me stability but it not fulfilment. I didn’t want writing to exist merely as a side hustle. I wanted it to be part of my identity. So why not give it my best hours, not what was left of me after long days crunching numbers and studying tax laws.
Over the years, you’ve grown into one of the most influential voices in Nigerian television, with acclaimed projects like “Love Like This” and “Oga Pastor,” and your most recent ‘The Herd’ How did you achieve this level of consistency and impact?
Is this the part where I say, it is God? I’ll say the desire to keep getting better at my craft and deep respect for the audience. Anyone that pays their money to watch a film I wrote in the cinema, or uses their data to stream online (legitimately), is giving me something incredibly valuable – money, time, and a portion of their life. The least I can do is give them the very best of myself.
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So even though, it’s an entertainment platform, it’s serious business for me. I believe storytelling contributes to shaping ideas, perspectives and culture. After all is said and done, yes, I’ll say it is God.
Can you walk us through what a typical workday looks like for you?
Honestly, there’s no typical workday for me. I’m not a morning guy or a night owl. I move when inspiration strikes or when deadlines demand it.
What inspired the creation of “The Herd”? And what key challenges did you face during the writing/making of the film?
I was in Church during a crossover service and someone came to give a testimony about being freed from the hands of kidnappers. There was a tension in his delivery that struck me, especially on a platform where a believer should feel safe. It felt as though I could hear and feel the things he wasn’t saying. Whenever I feel that strongly about something, I’m compelled to write about it. For clarity, The Herd is not a true life story.
The film is told from 3 perspectives – the kidnappers and the abducted; the abducted person’s family trying to raise the ransom; and the Police trying to rescue the victims. For research, I wanted to speak with people in these three groups, but people weren’t forthcoming for several reasons. Also, when I did get some research material, I had to constantly remind myself that this was a feature film meant to entertain and not a documentary. Also, it goes without saying that this is a sensitive subject matter and had to be treated as such. In the end, we found that balance and told the story we set out to tell.
The film drew mixed reactions, with some critics accusing it of reinforcing stereotypes particularly about Northern Nigeria. From your perspective, do you believe the story was misunderstood, or do you think the concerns about stereotyping have some merit?
Film is art, and people will receive it through the lens of their own experiences and biases. I can’t change that. Once, you put it out into the world, I don’t believe it’s my place to influence, or judge, how audiences choose to engage with it. That said, most of the people who held those views hadn’t actually watched the film. They were reacting over a one-minute clip on social media. The majority of people who have seen the full film don’t share those opinions.
I particularly enjoyed “The Herd,” and I am curious to know, if you currently working on any new projects? If so, could you give us a glimpse of what to expect?
Yes. I’m currently developing a feature film for a producer and in pre-production for a TV series my company is producing. I can’t speak much about either just yet.
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Movie Review: The Herd is a Gripping Portrayal of Nigeria’s Banditry and Kidnapping Epidemic
You’re often described as the “King of Web Series” for the role you’ve played in shaping Nigeria’s digital storytelling space. What has been your biggest challenges in carrying that reputation and responsibility?
First of all, I’m just grateful that this is being said of me. I don’t necessarily see it it as a challenge, but I do have a strong desire to help create a viable pipeline that develops and improves storytellers. I hope for a future where the majority of screenwriters understand the influence and responsibility they wield as storytellers. Also, I want to work with non-writers (producers, directors, editors et al) to strengthen storytelling across the entire process, so whatever a writer delivers, is rigorously scrutinised, thoughtfully elevated in production, and refined before it reaches the audience.
From your first project, Plus 234, to your most recent work, The Herd, you’ve reached several remarkable milestones in your career. Which achievement stands out the most for you, and why is it especially meaningful?
Hmmm. Maybe the first. Plus 234. I came into the industry by creating a TV show. When I began to network with writers in the industry, they let me know it was a big deal. At the time, I didn’t think it was.
Giving it some more thought, my desire is to tell stories that are close to us but not spoken about nearly enough. I hold Oga! Pastor and The Herd close to my heart because audiences were not only entertained, but also used those fictional characters as a lens to interpret real-life situations. But I guess the political answer is that no show is jealous of the other because each project represents growth and they are all meaningful to me.
You founded the company African Stories Untold in 2020. What inspired its creation, and looking back now, would you say the company is fulfilling the vision you had for it?
African Stories Untold was created to tell and preserve diverse African narratives. Storytelling is a powerful tool that inspires compassion, provokes thought and contributes to the cohesion of a united society. Since our first project, My Birthing Experience, we have produced an anthology (Love and Light), limited series (Deeper) and Say Who Die, a feature film on Prime Video.
This year, we launched, Unreleased, in partnership with Canvas Concept Space. It is a monthly micro-festival where we showcase projects that have not been released to the public. It has become vibrant film community for new voices that we are proud of and looking to growing significantly in the coming year. Beyond, film, television and radio, we are exploring new storytelling mediums. Looking back, I’m proud of what we’ve been able to achieve till date. We’re building deliberately, not hurriedly.
And, lastly as a frontline screenwriter, how do you personally define success?
Success, for me, is alignment; between what I believe, what I create, and how I live. I want to tell stories that matter, sustain a career, be a thought leader, create opportunities for others and still feel creatively alive. That’s success.
