Isioma Osaje on Directing Radio Voice, Collaborating with RMD, and Crafting Nollywood’s Next Chapter – In Theaters (Today) April 11
- Sahndra Fon Dufe
- 1 day ago
- 14 min read
Updated: 5 hours ago
Following its exclusive premiere on Saturday, April 6, 2025, at the Alliance Française–Mike Adenuga Centre in Lagos, Radio Voice opened to glowing reviews from industry insiders, media figures, and avid filmgoers. The much-anticipated feature officially debuted in cinemas nationwide on April 11, with screenings at Nile Cinemas and other theaters across the country. Centered on a fearless female radio host, the film delves into the complex interplay of truth, power, and storytelling—cementing its place as a daring new entry in the landscape of contemporary Nigerian cinema.
We sat down with the film’s director, Isioma Osaje, a celebrated producer and director, to talk about the inspiration behind Radio Voice, her creative process, and why this story had to be told now.
Isioma Osaje: Redefining Nollywood Behind the Camera
Isioma Osaje has long been a force behind the scenes, shaping Nollywood as a producer, talent manager, and industry powerhouse. Now, with Japa! and Radio Voice, she steps into the director’s chair, marking a defining moment in her career. As a filmmaker dedicated to storytelling with depth and authenticity, her work signals a new era for Nollywood—one where women take the lead, both in front of and behind the camera.
With Radio Voice, directed by Osaje and produced by a powerhouse team of women, the film is more than just another project—it’s a bold statement about the evolving landscape of Nigerian cinema and the necessity of diverse voices shaping its future. As someone who has championed talent for years, she understands the power of storytelling to break barriers and challenge norms.
In this exclusive conversation with Black Film Wire, Osaje opens up about her journey from talent management to directing, the challenges of being a woman in a male-dominated industry, her experience working with RMD, and the financial realities of Nollywood filmmaking. She also shares her vision for the future of Nigerian cinema and the stories she is most excited to tell next.
Isioma, congratulations on your most recent project, Radio Voice. Transitioning from a successful producer and talent manager to directing is no small feat. Let's delve into your journey, the challenges you've faced as a female director in Nollywood, and your experiences working with industry veterans like RMD.
BLACK FILM WIRE Editor-in-Chief: In 2024, we witnessed your directorial debut with Japa, after producing for over eight years since your film producer credit for ‘Something Wicked’ in 2017. “Radio Voice” marks your third feature film as a director, following “Finding Me” which you co-directed with Funke Akindele. Every project comes with its own unique journey—what was it about ‘Radio Voice’ that made you say, ‘Yes, I need to tell this story’? And how did your approach to directing this film differ from your previous work?"
“I am big on underdog narratives and great things coming from ‘small places’. And even more importantly, I grew up listening to the radio, religiously. So it felt like kismet to then be asked to direct a story set around the lives of people who work in a Radio station, because the thing about Radio is its ability to reach the world.”
-Isioma, Osaje, interview with The Black Film Wire
BLACK FILM WIRE Editor-in-Chief: You've had a remarkable career managing talent and producing hits like “My Wife & I” and “New Money” and many of our viewer faves like “Castle and Castle,” “Chief Daddy,” “Far from Home,” and Shuga. You’ve also worked with some of Nollywood’s finest—who are some of the talents you’ve managed that have gone on to make a big impact? And what’s one key skill from your talent management experience that proved invaluable when you stepped into the director’s chair?
Isioma:
When Talent Management was my singular focus, I had the privilege of working with an immensely talented group of individuals, including superstars like Adesua Etomi-Wellingtin, Blossom Chukwujekwu, Timini Egbuson whose work speaks pretty loudly. Everyone knows that my favourite people are actors. I think acting is a very hard thing to do because it requires so much vulnerability. I don’t know if this is a skill, but I am very attentive, so this means I ‘listen’ to actors and actually ‘hear’ them. This means when I direct actors, I can get to the meat of the matter or give useful notes. Actors do a lot of talking with their eyes and body, so I look out for the unsaid things to help us craft the most useful version of their characters. |
BLACK FILM WIRE Editor-in-Chief: "Directing your third feature film is a significant milestone. Can you share some unexpected challenges you faced during the making of Radio Voice? How was this experience unique or different from the other two previous experiences? And, how did you overcome them?
Isioma:
To be frank, there were no significant challenges, or well, a better way to put this is - because I have been producing in Nollywood for a while, I tend to approach the films I direct holistically. I am very proactive, so I’ll flag things to my Producers in good time, so the directing of it can go smoother. And on Radio Voice I had a fantastic team of Producers – Blessing, Yolanda, Karamat and of course, RMD were always willing to move mountains and slay dragons to help us make the best version of Radio Voice. |
BFW Editor-in-Chief: Radio Voice delves into very interesting themes of self-discovery and resilience. How did you approach portraying these themes authentically, and were there personal experiences or stories that influenced your directorial choices in bringing these narratives to life?
Isioma:
Yes, I have experienced grief personally, and there is nothing that demands resilience quite like grief. So I leaned on that a lot to navigate the arcs of the characters who deal with grief in Radio Voice, because they survived and their resilience is a big reason why. The other reason is an abundance of Love. Radio Voice is pulsing with Love, and our characters ride that throughout the film, which is what will make Radio Voice a very emotionally fulfilling experience for everyone who watches it. Love is what builds resilience. |
BFW Editor-in-Chief: Directing is rarely a one-size-fits-all process—what resonates with one actor may not work for another. With Radio Voice boasting a predominantly A-list cast, how did you tailor your approach to each performer? Were there any unexpected challenges or key lessons you learned in navigating such a dynamic ensemble?
Isioma:
Okay, now that was probably the ‘challenge’ with this film. Radio Voice has heavy-hitting superstars. Actors who boast of a breadth of experience – RMD, Nse Ikpe-Etim, Deyemi Okanlawon, Blossom Chukwujekwu, Timini Egbuson, Damilola Adegbite and our leading lady, Nancy Isime! What helped was that I have a lot of familiarity with these actors. One of my first jobs in Nollywood was working as Nse’s assistant, so she is pretty much a second mum as we’ve stayed close. Blossom and Timini, I had managed. Blossom was actually the first actor I managed. I had worked with Nancy, RMD & Deyemi in other capacities. It really was only Damilola I wasn’t familiar with, and I had conversations with all the actors before we shot a frame and especially with Damilola to make sure we weren’t strangers. I will admit that it was very intimidating, but the way I solved that was by over-preparing. I knew what my expectations were of the actors and I had communicated that well ahead of time. I knew what they thought of their characters and we had aligned on how we wanted to play them. Frankly, directing is paying attention. If you cast right, half the work is done and you just need to help the actors stay consistent and true to their journeys in the film. That’s how I navigated this process. |
BFW Editor-in-Chief: Working with a seasoned actor like Richard Mofe-Damijo is both an exciting opportunity and a unique challenge. How did Radio Voice come to you, and what drew you to this project? As a director, how did you approach guiding someone of RMD’s caliber (as producer), and what were the biggest takeaways from that experience, both creatively and personally?
Isioma:
Being asked to direct Radio Voice by RMD was the most unexpected thing ever. We had never discussed working in the capacity of Director and Actor, so I was surprised, but of course elated. RMD has done it all as far as Nollywood goes, so I made sure he knew/saw/felt that I was doing the work. I looped him on everything – changes I felt the initial script needed, how I wanted to shoot the film, my vision, edit choices, etc. And the thing is, he never ‘fought’ me on anything. He was such a great collaborator and communicator. If he wanted me to think about something differently, he asked in the most gentle manner. He made sure I knew there was no pressure to agree; it was fantastic. I totally recommend that everyone should direct a film that RMD produces. You’ll leave the experience richer. |
BFW Editor-in-Chief: Was there a moment on the set of “Radio Voice” that stands out to you as being particularly hilarious? Share with us, we’d love to visit the set through your eyes!
Isioma:
It would be the first scene we shot with Deyemi. He walked on set, having left most of his shirt buttons undone and with an arrogant swagger that was perfect for the character he plays – Andy. And I was so delighted by the choice! It was hilarious and I loved it. |
BFW Editor-in-Chief: Moving away from Radio Voice, (we want to get to know you better) let’s delve into other parts of your creative career. In a previous interview with BellaNaija in 2018, you highlighted financing as a major challenge in Nollywood. How have you managed to secure funding for your other projects (as producer), and what advice would you give to aspiring filmmakers facing similar issues?
Isioma:
Hahaha, must we move away from Radio Voice? Don’t mind me, I just love talking about this amazing film. Funding challenges still persist because the economy home and away, is challenging. We do what we can by seeking private funding from investors. It is a pain point in Nollywood, and I hope one day I am able to say it is a thing of the past. |
BFW Editor-in-Chief: Let’s talk about the pivoting theme at the recent Black Women In Film Annual Conference, and one we all resonate with. Transitioning from talent management with Agency 106 to producing and eventually directing. Tell us that story. Also, how has your experience in nurturing actors influenced your directing style? Do you find yourself more empathetic towards actors on set?
Isioma:
Yes, I am a big fan of actors. It is not a hidden secret with me. I went into Talent Management when I came into Nollywood because, unlike the music industry where I started from, I saw a gap in the acting ecosystem. Actors don’t have nearly as much support and systems to help them thrive as their colleagues in the music industry. So, establishing Agency 106 was my way of helping to bridge that gap and even as I stray away from managing actors to explore other facets of filmmaking, I am still very empathetic towards actors. |
BFW Editor-in-Chief: Juggling roles as a producer, talent manager, and director must be demanding. How do you maintain balance, and what strategies do you employ to ensure each role receives the attention it deserves?
Isioma:
I gave up trying to find balance. I do what I can, when I can. Some balls will drop, and when they do, I will pick them up. I think that because I am a very efficient person, I generally stay ahead of things because I attend to most things promptly. And I really only take on projects/people I care about, so I don’t need extra motivation to attend to anything. I am also very self-aware. I know my energy levels, triggers, temperament etc, so that helps me manage my plate. It is not easy of course and I recently initiated a strict-no – no work on Sundays rule, except I am in production. That way, I have a day to just ground myself. I also do a thing where, after I wrap any shoot as a Producer or Director, I am no contact for a day or two. It helps me self-regulate because experiencing 50-plus people daily for weeks can take a toll. So I use a day or two to ground and centre myself. |
BFW Editor-in-Chief: With Women's Month (last month) highlighting the contributions of women in various fields, what changes would you like to see in Nollywood and the global film industry as a whole, to better support and uplift female filmmakers and storytellers?
Isioma:
Nollywood is ahead of the curve with regards to the participation & inclusion of women. So what I want to see more of is continued growth for women in the spaces/fields in this industry that are lacking. For instance, Cinematography and Directing. The way I think we can grow these spaces is by sharing our experiences in these roles publicly so that more women see that they can do these things. Nothing is quite as impactful as seeing a woman do something. So if you’re a woman in Nollywood, please share your experiences a bit more so the next woman can be inspired to join us. As for the global industry, please look to Nollywood. Women make up half the world’s population and that should reflect in the film industry. |
BFW Editor-in-Chief: In Hollywood and other markets, it's almost impossible to work with A-list talent without their management and talent agents, for good reason. In the same Bella Naija interview referred to above, you also mentioned facing prejudice when people prefer not to deal with talent managers in Nollywood. How have you worked to change this perception, and do you see a shift happening in the industry?
Isioma:
Definitely, it has been many years since I got into Talent Management. The resistance is mostly gone; there are always exceptions, but now, Managers and Agents are no longer unicorns in Nollywood. I can’t take credit for this change, I think the industry grew to accommodate this structure. On my part, I just stuck to being professional and showing my value as a Talent Manager and as more people got into the business, it became a ‘thing’. |
BFW Editor-in-Chief: We briefly discussed a project you co-directed (Finding Me). In an industry where female directors are still underrepresented, witnessing two women co-directing a major film is empowering. How did you and Funke navigate decision-making processes, and did you find that your shared experiences as women in Nollywood brought a unique perspective to the storytelling? What can emerging women directors learn from this?
Isioma:
Funke Akindele is a formidable filmmaker. She is accomplished and celebrated, and I was very humbled when she invited me to co-direct Finding Me with her. She made it easy for me to fit into her ecosystem – she made space for me and I was able to plug into it and help copilot her very massive ‘ship’. The story – Finding Me, is told from the perspective of a woman, so it definitely made it richer that we were both women. Going from the feedback on the film, I think we did a good job, and we worked well together. The lesson here is – share your playground, send the ladder down, make room for other women. Funke Akindele did that for me on Finding Me, and I am grateful to her for it. |
“The lesson here is – share your playground, send the ladder down, make room for other women. Funke Akindele did that for me on Finding Me, and I am grateful to her for it. ”
-Isioma, Osaje, interview with The Black Film Wire
BFW Editor-in-Chief: As a female director in a predominantly male industry, what unique challenges have you encountered? How do you navigate situations where your authority or vision might be questioned?
Isioma:
If you are uncomfortable taking instructions from me when I am directing because of my gender, we won’t work together. I am a competent professional, so I will do my part and treat everyone equitably and with respect. I hold myself to high standards, and I have that expectation of everyone I work with. I don’t navigate these situations, I exit them. Now that is not to say I don’t give people grace, but if I have to tiptoe around people who have decided being a woman means I am less than, it just is not worth my time. They must go sort themselves out, away from my purview, so that I can work with those who want to work with me. |
BFW Editor-in-Chief: Every director has that one thing they never go to set without—maybe it’s a lucky charm, a secret stash of snacks, or a weird habit/practice that keeps them grounded. What’s that one thing in your bag or routine that helps you navigate the chaos of filmmaking? And speaking of inspiration, who are some of your favorite directors, and what is it about their work that you admire?
Isioma:
That’s interesting – in terms of a habit/practice that keeps me grounded – it is trying to find stillness. I have a music playlist I make for every film I am directing. It is usually three songs maximum, so it becomes a sort of mantra. I am not a very still person. My mentor Naz, pointed this out to me a few years ago. It wasn’t particularly a surprise, but I didn’t realise until that moment that my fidgeting was external – for some weird reason, I didn’t think anyone could see that I can’t stay still for prolonged periods. And I think it must be quite nerve-wrecking for a crew or cast to have a fidgety director, so I am constantly finding stillness, so listening to my playlist on my way to set helps a lot. I don’t like to listen to music when I am on set, I like to be present and pay attention. So I start the day listening to my playlist on repeat, and that is my ritual. Steven Spielberg is my favourite director because he is a genius and his filmmaking is so instinctive. My second favourite is Christoper Mcquarrie – aside from being very talented, he is such a practical filmmaker. His approach resonates with me. I also deeply admire Gina Prince-Bythewood – she gets people. Love & Basketball and Beyond The Lights are some of my favourite movies. |
BFW Editor-in-Chief: Let’s say you had an unlimited budget and could cast absolutely anyone—dead or alive—in a Nollywood film of your choice. Who would be in your dream cast, and what ridiculous plot would you cook up just for fun?
Isioma:
Anne Hathaway is the first name on that list. I think she is fantastic, and I know I will have an amazing time directing her. It would definitely be a romantic-comedy, maybe a little screwball/oddball type plot. I think she has great comedic instincts. Emily Blunt – she is EXTREMELY talented. Ryan Reynolds, too! |
BFW Editor-in-Chief: Your journey has already shaped Nollywood in powerful ways, from nurturing talent to directing films that leave an impact. Years from now, when people talk about Isioma Osaje’s influence on the industry, what do you hope they say? And more importantly, what do you hope the next generation of filmmakers will take from your work?
“I hope my legacy is that I made it possible for people to live their dreams. Just do your best, don’t stop. If you try and it doesn’t go as planned, make the next film/series and so on and so forth. Keep going.”
-Isioma, Osaje, interview with The Black Film Wire
BFW Editor-in-Chief: With Finding Me just premiering on Prime Video and Radio Voice on the horizon, what stories are you eager to tell next? Are there particular themes or genres you're passionate about exploring? And finally, for those 'serious people' out there who want to collaborate, what’s the best way to get on your radar?
Isioma:
Japa!, the first film that the world saw directed by me is a Sci-fi Comedy. Finding Me and Radio Voice are Dramas. My favourite film genre is Rom-Com, I’d like that to be next. But really I will tell any story and play with any genre if it appeals to me. I am not fussy. I am on social media and my phone number is in the Nollywood ether. If people want to reach me, it is really easy. They can even ask BlackFilmWire. |
BFW Editor-in-Chief: We’ve very much enjoyed speaking with you today and look forward to joining the rest of Nigeria to watch “Radio Voice” in cinemas come April 11. As we log out, give us one last word to leave our readers with to keep them motivated.
Isioma:
Thank you so much. I really enjoyed this interview, your questions made me think! Life is hectic and things can be very fast, so the one word I’d like to leave readers with is – Breathe. |
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