YouTube Liberated Nollywood From Marketers’ Grip, Says Kanayo

The landscape of Nigerian cinema has undergone a seismic shift, and veteran icon Kanayo O. Kanayo is speaking out on the digital revolution that ended an era of industry “slavery.” For decades, the power dynamics of Nollywood were concentrated in the hands of a few influential movie marketers. These individuals, often doubling as executive producers, held the keys to stardom and the power to end careers with a single decree. However, Kanayo reveals that the emergence of YouTube acted as the ultimate disruptor, providing a long-awaited escape for actors who were previously at the mercy of a restrictive monopoly.

Speaking during a recent episode of The Honest Bunch podcast, the legendary actor painted a vivid and often grim picture of the industry’s early years. He recalled a time when marketers exercised absolute control over the livelihoods of talent. This era was defined by a culture of fear, where actors lived under the constant threat of suspension. According to Kanayo, it was not uncommon for a group of marketers to blackball ten to twelve high-profile actors in a single year. These suspensions were often arbitrary, leaving the affected performers without any formal platform to defend their names or their livelihoods.

The justifications for these professional bans were frequently shrouded in ambiguity. Kanayo noted that marketers would often cite “unholy conduct” or other vague, non-specific charges to justify sidelined talent. In reality, these maneuvers were often calculated power plays designed to keep actors in a state of subservience. By controlling who appeared on screen and when, the marketers ensured that no individual actor became more powerful than the distribution system itself. This iron-fisted approach stifled creative freedom and kept the financial rewards of the film boom concentrated at the top of the supply chain.

One of the most stifling tactics used by the marketing cabal was the prevention of vertical growth. Kanayo disclosed that the “powers that be” were fiercely protective of their domain and sought to prevent actors from crossing over into the business side of filmmaking. To deter talent from self-marketing or independent production, the marketers imposed a staggering fine. Any actor who attempted to take on the role of a marketer was required to pay ₦500,000. To put this figure in perspective, Kanayo pointed out that the entire production budget for a standard Nollywood film at the time was roughly ₦800,000.

This financial barrier was an effective deterrent, essentially locking actors into a cycle of low-wage labor relative to the profits their faces generated. It created a glass ceiling that few could afford to shatter. Actors were trapped in a paradox: they were the faces of a growing cultural phenomenon across Africa, yet they lacked the agency to own their craft or diversify their income. The traditional distribution model, which relied heavily on physical VCDs and DVDs, ensured that if the marketers at Idumota or Alaba Market refused to stock a film, that film—and the actors in it—simply ceased to exist in the eyes of the public.

Everything changed with the democratization of the internet. The arrival of YouTube and various video-on-demand platforms acted as a digital “Jubilee” for Nollywood talent. For the first time, actors and independent producers could bypass the traditional gatekeepers and speak directly to their audience. This shift effectively broke the monopoly held by the marketers. If an actor was banned from traditional distribution, they could now film their own content and upload it to a global audience, monetizing their brand without seeking permission from a local board of executive producers.

Kanayo emphasized that this technological shift did more than just provide a secondary income; it restored the dignity of the Nigerian actor. The “unholy conduct” charges lost their sting when the audience could vote with their views and clicks rather than being limited to what was available on a vendor’s shelf. This new era of autonomy has allowed for a more diverse range of stories and has enabled actors to become entrepreneurs in their own right. The financial chains of the ₦500,000 fines were replaced by the limitless potential of global ad revenue and brand partnerships.

The veteran actor’s reflections serve as a historical record of the industry’s evolution from a localized, controlled market to a global powerhouse. While the early marketers deserve credit for funding the industry in its infancy, Kanayo’s account highlights the dark side of that patronage. The transition to digital platforms like YouTube has leveled the playing field, ensuring that talent and creativity—rather than the whims of a few distributors—now dictate the trajectory of a career in Nollywood.

As the industry continues to evolve with the entry of global streaming giants, Kanayo’s message remains clear: the freedom of the creator is paramount. The liberation brought about by the digital age has not only saved careers but has fundamentally reshaped the Nigerian movie industry into a more equitable and competitive space. The days of the “untouchable” marketer have faded, replaced by an era where the audience is the ultimate judge and the platform is open to all.