By Rita Okoye
Yomi Fash Lanso is a veteran Nigerian actor and television personality, widely recognised for his compelling performances in Yoruba-language films. He has over 100 titles to his credit.
In this interview with Sunday Sun, he reflects on his return for the fourth season of the hit drama series, Wura, sharing his excitement about the project while offering insights into what it takes to succeed in Nollywood, alongside other issues shaping his enduring career.
Wura Season 4 is a new deal because there are a few new faces in the show. What’s new for you this season aside from the new faces?
Nothing new, really; we’re continuing wih the storyline. Don’t forget that this is an adaptation of an existing series. We are simply infusing our own film culture and the way we live in Osun State. There’s nothing particularly new for me because I’ve been part of 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 home to us, the chalets, the mansions, the poolside, and the cafeterias. Now, we are adjusting, but we continue with the work.
You have been in the industry for a while and have seen it all. What is it like staying in one character for such a long time, as required in a TV series, while still taking on other roles in films?
That is what separates a professional actor from a regular one. 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 must transform for each role.
As Commissioner Adeleke, for example, I maintain a clean-shaven look, which differs from other roles I play. Once you get the “character bible,” you must be able to build and present that character properly—that is what being an actor means. We also have what we call “directors’ actors.” They understand the job and make things easier for the director because they immerse themselves fully in the character.
Some actors don’t like acting in series because of the time-consuming nature…
Of course, I run away from soap operas too! But as a good actor, you must understand the platform a production is on. Wura is a big show; it’s watched across Africa, which means you become known across the continent. The reach is huge. It’s a platform any serious actor would want to be part of.
While I usually shy away from series, I still consider them if they are high-quality productions.
I was not in town when they were initially looking for me. But when I returned, they brought me 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 prioritize the money because they understand the long-term value in terms of exposure. Projecting your image beyond your home country is vital.
What’s your take on actors cast in indigenous films who cannot speak the language? Should casting be based on language strength or strict fluency?
If it’s a well-known actor, you can’t just assign them a “foreign” character regardless of how they speak. What producers can do is write the character in a way that makes sense, for example, someone who grew up in that region or within that culture. So, it justifies their understanding of the language, even if the accent isn’t perfect.
There’s a growing conversation about promotion. Should actors be required to promote films?
First, it is the director’s film, not the actor’s. If a film flops, the director is held responsible; so if it succeeds, the credit should also go to the director.
But directors are not as famous as actors?
Yes, that’s the issue. But it remains the director’s film. An actor doesn’t create a character in a vacuum, it is the director who shapes the actor according to a specific vision. Then comes editing, where the best parts are retained.
At the promotion level, if it is included in the contract, and it should be, then the actor must fulfill that obligation. Otherwise, it is not automatic. I am paid to act; promotion is an entirely different level of engagement.
At the entry level, some young actors focus on fame or landing big projects without protecting their interests. What’s your take on this?
They shouldn’t complain. They need to understand how the system works. Go online, ask questions, and learn your rights—whether as an actor, director, or producer. That way, no one treats you carelessly.
Some people fall victim because they avoid responsibility. Some won’t even read the script before quoting their fee!
Your number one job as an actor is to demand the script and study it thoroughly. If there are scenes you are uncomfortable with, like jumping or kissing scenes, you must state that upfront. But because some are focused only on money, they get to set and start refusing. At that point, you may have no choice since you’ve already been paid.
Every actor must understand this: demand the script first, know the character, and understand why you are playing it.
How does it feel to be one of the most recognized faces on the show, and how have you sustained your career over time?
You need to understand the job. If you know your worth, your rights, and your boundaries, you won’t damage your image. No one is perfect, but you must try to manage your desires. A person who can control his desires will succeed in this entertainment industry. Also, don’t just be an “industry act”, be a true actor.
You mentioned earlier that the film belongs the director. Where does the producer come in, and how can everyone benefit long-term from successful films?
That’s where royalties come in, we’re working on that. Already, some actors, directors, and producers receive annual payments through the Audio Visual Rights Society of Nigeria (AVRS). It is their right, and AVRS is doing a great job.
We must ensure that everyone continues to benefit throughout the lifespan of a film.
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