African film makers are scraping by on a mere pittance.

I never hesitated, as a student, in embracing the necessity of violence. In South Africa, I didn't just accept it; I looked forward to it as a mission.

The gods in Yoruba mythology are not remote at all. They're benign, they're malign, they are mischievous, like Eshu for instance, tricksters, rascally, fornicators, that's a similarity to Greek mythology, for instance, you know. They're not saints, they're not saints. They're powerful. It's why they're not tyrannical. Of course, a number of them are also very, you know, benevolent, you know, there are saintly virtues to be found in them.

When I was a child, for a public/civil servant to be caught in corrupt practices, that individual will be a pariah. He will be a complete reject of the society; he/she could not raise his or her voice to speak in the public. So what happened between that time and now? That time when a public officer, prison or customs officer caught in corruption hides his face in shame amongst his peers, he just couldn't come out publicly. Today, when they come back, they get chieftaincy titles, they are received in grand style, cows are killed, they ride on white horses.

There is not a special imposition on writers to be activists. All that does is encourage writers to write propaganda.

But theater, because of its nature, both text, images, multimedia effects, has a wider base of communication with an audience. That's why I call it the most social of the various art forms.

The Egba kingdom was one of the very last to be ceded to the British protectorate. It remained almost an independent entity within what is now known as Nigeria, simply because of its own traditional structure of governance.