YOMI FASH LANSO: Actors not under obligation to promote films

Yomi Fash Lanso is a veteran Nigerian actor and television personality, widely recognised for his compelling performances in Yoruba-language films. With over 100 titles to his credit, he’s currently making waves with his performance in the Showmax production, ‘Wura.’In a recent interview, Fash Lanso offered insights into what it takes to succeed in Nollywood, alongside other issues shaping his enduring career. He spoke with GBENGA BADA on the essence of professionalism in the film industry. You have been in the industry for a while; what is it like staying in one character for such a long time, like in a TV series, while still taking on other roles in other films? That is what separates a professional actor from a regular actor. You must be able to switch roles. I don’t carry the same face or mannerisms into different roles. Everything—appearance, movement, and expression—must reflect the character. Understanding the character deeply makes it easier to switch. You change for each role. As Commissioner Adeleke, for example, I’ll carry a clean-shaven face, which is different from other roles I play. Once you get the “character bible,” you must be able to build that character and present it properly; that is who an actor is. We have what we call “directors’ actors.” They know the job and make things easy for the director because they immerse themselves in the character. Some actors don’t like to act in series because of the time-consuming nature; how true is this? Of course, I run away from soap operas too! But as a good actor, you must be able to understand the platform a production is on. ‘Wura’ is a big show; it’s watched across Africa, and that means you are known in the face of the whole of Africa. The mileage is huge. It is a platform that any good actor would want to jump on. You’ll understand that it will give you more visibility and projection beyond the shores of your country. So, while I usually run away from the series, I still consider it a very high-quality production. I was not in town when they were searching for me originally. But when I came back, they picked me up from Lagos to Ile-Ife, and the rest is history. Your agent will lobby for you if they know a production will give you visibility. Sometimes, they may not even look at the money first because they know what it will give the actor in terms of projection, which is key. To project your image outside your home shores is vital. What’s your take on actors cast for indigenous films who cannot speak the language? Do you think an actor should be cast based on their strength in any language, or should roles be strictly for those who speak it fluently? If it’s a well-known actor whose name is attached, you can’t just give them a “foreign” character regardless of how they speak. What I think producers can do is write it so the character grew up in that part of the country or with that tribe, so it makes sense why they understand the language but might not have the perfect accent. In conversations about film promotion, should producers insist that actors promote the film or actors should naturally promote since they benefit the exposure most? First, it is the director’s film, not the actor’s film. If a film flops, they hold the director responsible; so if it goes well, let’s give the credit to the director too. Read Also: Temi, Mr. Eazi’s pregnancy news caught me off guard – Nana Otedola But directors are not as famous as actors? Yes, that’s the problem. But it is still a director’s film. An actor will not just come up with a character in a vacuum; it is the director who will tailor the actor to the specific vision they want. Then we have the edited version, where they take off the bad parts and keep the good ones. At the promotion level, if it is in the agreement—and it must be there—then the actor must fulfil the contract and promote. If not, it is not automatic. I am paid to act. For me to promote your movie, that is another level entirely. Related News I'm not a Nollywood actor - Yomi Fash-Lanso At the point of entry, some young actors are just looking for fame or a big project and don’t secure their own interests. What is your take on the treatment they get? They should not complain. They should understand how the system runs. Go on the internet and ask questions. You must understand the world you are coming into—your rights as an actor, a director, or a producer. That way, no one is passing you here and there like a ball. Some fall victim because they don’t want to share responsibility. Some won’t even look at the script before charging a fee! Your number one job as an actor is to demand the script first and go through it in detail. If there is a jumping or kissing scene and you are not comfortable with it, let it be known before you start. But because some are only bothered about the money, they get to the set and start saying they can’t do a particular thing. Well, you will do it since you’ve been paid! Every actor must understand that: demand the script first, know the character, and know why you are playing it. How does it feel to be one of the most recognised faces on Wura, and how have you kept your career steady all this time? You need to understand the job. If you know your worth, rights, what you should do and shouldn’t do, you won’t destroy your image. No one is perfect, but try as much as possible to conquer your desires. If a man can conquer his desires, he will triumph. And try not to be an ‘industry act’—be an actor. You said earlier that it is a director’s film. Where does the producer fall in, and for successful films, how does everyone continue to benefit long-term? That is where royalties come in; we are working on that. Already, some actors, directors, and producers are being paid annually through the Audio Visual Rights Society of Nigeria (AVRS). It is their right, and AVRS is doing wonderfully well. We must ensure everyone benefits throughout the lifespan of the film. For Wura Season 4, what’s new for you this season aside from the new faces? Nothing new really; we continue with the storyline. Don’t forget that this is an adaptation of an existing series. We are simply infusing our own film and culture in Osun State, and the way we live our lives. There is nothing new to me there because I’ve been following it since Season 1. How did you feel returning to the set after the break? Was it nostalgic or just a return to work? After the break, it felt like we were back again, but it was also nostalgic. Moving from Ile-Ife to Lagos was different, and of course, we missed a lot of things. Ile-Ife was like a home to us with the chalets, the mansions, the poolside, and the cafeterias. Now, we are adjusting, but we continue with the work. --> --> TAGS: Yomi Fash Lanso