Nollywood has grown into a $6.4 billion industry, capturing global attention with culturally resonant stories and box office hits.
Yet behind the lights and cameras, the industry faces persistent legal and financial blind spots.
Idea theft, misattributed credits, and poorly drafted contracts are quietly draining creatives and investors alike, stifling the industry’s full potential.
In an exclusive interview, Naijaonpoint spoke with Omotayo Inakoju, one of Nigeria’s most powerful female lawyers in the entertainment Industry, who serves as the Head of Legal at EbonyLife Group. Her role has seen her work with top studios, including Netflix, BBC Studios, and Sony Pictures.
She maps the playbook for protecting creative rights, preventing costly IP disputes, and attracting investment. Her insight spotlights structured intellectual property laws, dedicated entertainment tribunals, and international treaties as essential to safeguarding talent, fast-tracking enforcement, and ensuring the industry thrives over the next decade.
For anyone seeking to understand Nollywood beyond box office numbers, this is a rare insider’s perspective on how legal reform could redefine the future of African storytelling.
Naijaonpoint: Omotayo, let’s start from the beginning. What drew you to entertainment law, and what has your journey been like leading to your role at EbonyLife Films?
Omotayo: Honestly, after law school, I had no idea entertainment law was even a field. During my Master’s in Lagos, a friend connected me to my first role as a Legal Officer at Silverbird, where I spent about seven years. My work spanned cinema exhibition, film distribution, media, and real estate, giving me a broad understanding of the business side of film.
Over time, I became curious about what happened before a movie reached the cinema: how it was produced and what legal processes guided it. That curiosity led me to explore film production, study contracts, and learn directly from producers.
I noticed that while some lawyers identified as music lawyers, almost no one focused on film law. I decided to fill that gap, and that decision shaped my career, ultimately leading me to EbonyLife Films, where I now merge creativity and law to support storytelling.
Naijaonpoint: Nollywood is booming, but with that comes an increased risk of IP theft. What are some of the most common types of IP violations you see in the industry?
Omotayo: I’ve been practicing film law for nearly ten years, and most IP violations in Nollywood fall into two main areas.
The first is idea theft and unauthorized adaptation. Because our industry thrives on storytelling, ideas move fast, and sometimes two producers end up developing the same or similar concepts. Many disputes arise because people skip the proper process of securing rights. For instance, adapting a book without the author’s permission is still copyright infringement, even if you’re changing the medium.
The second is credit. Credit isn’t just courtesy; it’s a legal right. When a writer or crew member isn’t properly credited, it’s a violation, not an oversight. Payment doesn’t replace recognition; both go hand in hand.
These two issues, unauthorized use and denied credit, are the most common. As Nollywood grows, creators must understand that protecting IP isn’t just about contracts or money; it’s about respecting every creative contribution that makes a film possible.
Naijaonpoint: Have you handled or witnessed a high-profile or particularly complicated case of copyright infringement? What was at stake?
Naijaonpoint: Have you handled or witnessed a high-profile or particularly complicated case of copyright infringement? What was at stake?
Omotayo: Yes, I have handled several infringement cases. One that stands out was when a website uploaded my client’s film and began streaming it without any distribution, licensing, or exhibition agreement. Imagine scrolling online and seeing your movie on a platform you never authorized. That shock is, sadly, very common for filmmakers.
We’ve seen similar public cases, like when Bimbo Ademoye called out a Ghanaian TV station for airing her films without permission. It happens just as often on YouTube and Telegram, where movies are freely uploaded and shared.
When this occurs, the first step is to gather evidence of the infringing platform, company name, and when the content was shown. Then you reach out, requesting a takedown. If they ignore you, your lawyer issues a formal notice. In my client’s case, once we threatened to report the site to its host companies, the film was removed. Otherwise, you sue.
The biggest loss is financial; piracy kills exclusivity, and fewer people pay for legitimate access. But it also robs creators of credit, control, and peace of mind. Legal battles are long, stressful, and expensive, and even when you win, compensation rarely matches the real damage done.
Naijaonpoint: A lot of young creatives worry about idea theft. What’s the legal first aid they can apply before pitching a script or concept?
Omotayo: For me, the main issue is that many filmmakers, actors, scriptwriters, and crew members focus only on the creative side of things. They forget there’s also a legal and business side.
I’ll give you an example: a scriptwriter once reached out to me, saying he wanted me to represent him and negotiate his deals. The first question I asked was, “Is your business registered with CAC?” He looked at me, surprised and said, “I’m a scriptwriter, what does CAC have to do with me?”
That moment showed me how many creatives don’t even know something as basic as CAC registration, which is critical. Without it, you can’t access funding opportunities like grants or loans, because investors want to see that your business is legitimate.
It’s the same with intellectual property. Many people in the industry create and monetize their work without first identifying or protecting their IP. Simple steps like registration or proper contracts are often ignored.
Naijaonpoint: Are there gaps in Nigeria’s current IP laws that make it harder to protect creative works in film?
Omotayo: Yes, there are. Nigeria’s copyright law was recently updated to cover both physical and digital works, allowing creators to request takedowns from platforms like YouTube and Instagram when their content is used without permission. However, the biggest challenge is territorial. Copyright protection is local, so while Nigerian creators can act against infringement within the country, it’s harder when the offender is abroad.
Technology also evolves faster than the law. For instance, there are still no clear global rules defining ownership or liability for AI-generated works. Courts in places like the US and UK rely on precedents rather than legislation, and Nigeria faces the same issue.
Finally, enforcement remains weak. Legal cases can drag on for years, and by the time they’re resolved, the content’s value is gone. So, while the revised law is progressing, enforcement, international protection, and keeping pace with technology remain major gaps.
Naijaonpoint: In your experience, what are some clauses that are often overlooked in Nollywood/Music contracts but should never be missing?
Omotayo: In my experience, there are several clauses people in both film and music often overlook but should never ignore.
In music, clarity on rights and obligations is key. Artists must know how many albums they’re expected to record and what financial or promotional support the label owes them. The ownership clause is just as vital; it must clearly state who owns the music: the artist, the label, or both.
Another clause that’s frequently ignored is audit and record-keeping. Without the right to audit, artists can’t verify income or royalties. If a label says your song earned N600,000 when it actually made N2 million, you’d have no recourse. The reversion and buyout clauses are also crucial. A reversion clause lets rights return to the artist after a period, while a buyout clause allows early repurchase, like in Kiss Daniel’s case.
In film, contracts vary widely. Scriptwriter, co-production, financing, actor, and crew agreements all carry unique terms. Each one must define ownership, rights, and consent clearly. Whether in music or film, skipping legal review often leads to regret. Many creatives get excited about signing deals without realizing what they’re giving away. Every contract, no matter how small, deserves proper understanding and legal guidance.
Naijaonpoint: What red flags should filmmakers or actors watch out for before signing production, distribution, or streaming deals?
Omotayo: The first key consideration is the protection of your intellectual property. If you are the creator of an idea, you must ensure it is not taken from you. Watch out for contract terms like sell, assign, or transfer, especially if you do not intend to give away your rights. Always scrutinize any clause that suggests ownership of your creative work is being transferred to another party.
Next is clarity on your payment structure. It is essential to know exactly how and when you will be paid. Do not accept vague arrangements. Specify that the first payment is due upon execution of the contract, the second at the commencement of production, and the final payment upon completion of services. This ensures there is no confusion or delay in receiving your earnings.
Credit is equally important. Properly acknowledge your contribution and ensure your credit reflects the exact role you played. Being miscredited can affect your professional reputation and future opportunities.
Finally, welfare and safety on set must never be overlooked. Ensure that your working environment is safe and suitable. Ask questions about insurance coverage, medical support, and security, especially if shooting in risky locations. Your protection is crucial because, ultimately, you need to remain safe to continue working and creating in the industry.
Naijaonpoint: Are there legal incentives or protections you’d love to see offered to investors to unlock more funding for Nollywood films?