David Riyo, In-Between the Reality of Nollywood

In this interview, we sit with one of Nollywood’s rising stars, David Riyo, a talent whose presence is as thoughtful as it is captivating.

Interview by Ajayi Oluwabukunmi 

In an industry brimming with voices, faces, and fleeting moments, there are a few individuals who manifests a distinctive character presence that lingers long after the movie ends. This sometimes uncovers a level of off-screen, storytelling intimacy that viewers revere, anticipate and resonate with. “More than a movie experience,” some would subtly profess. In the midst of this cinematic interaction, David Riyo conjures filmmaking as a blend of experiences. 

In this interview, we sit with one of Nollywood’s rising stars, David Riyo, a talent whose presence is as thoughtful as it is captivating. He is a storyteller, actor and producer shaped by curiosity, culture, and a sincere fascination with human nature. His fascination with the field, as revealed, is born out of telling stories with a certain sheer intentionality.

David Riyo is a graduate of the University of Calabar (2012), and has steadily carved a path for himself as a versatile and hardworking actor. His journey reflects not just talent, but intention—one marked by growth, discipline, and a relentless desire to evolve. From studying Theatre Arts in the University to further honing his craft at EbonyLife Creative Academy, he has gained a significant number of credits in his portfolio, hence revealing the different layers of his range. He has either appeared or worked on projects including All the Colours of the World Are Between Black and White, Mikolo, Baptised by Fire, Walking with Shadows, SuperNowa, Dara (A Port Harcourt Love Story), Harmattan, and To Adaego With Love, as well as a recent series on Africa Magic titled Dividends.

His dedication to the craft’s mastery had once required him to befriend a young homeless person and spent nights on the streets while preparing for the role of a displaced child turned soldier. It is this deep love for transformation that fuels his artistry and has also shaped his admiration for actors like Johnny Depp, whose ability to completely morph into characters continues to inspire his own approach to storytelling.

Most recently, his feature in To Adaego, With Love marks another step in his growth, offering him the opportunity to share screen space with veteran actors and deepen his experience within the industry, a testament to how far he has come, and a quiet promise of just how far he is yet to go.

PP: Tell us about yourself; your family, where you grew up, and what or who first inspired you to go into film.

DR: It is quite ambiguous speaking of oneself, especially when not given context, so I appreciate this question.

Firstly, I grew up in a very beautiful and serene city called Calabar, quite a domesticated town with beautiful scenery and culture. I am the third of a family of six gifted children, born to a Northern father and a Southern mother. Being bred in such a diverse environment and a blend of cultures sparked a genuine curiosity about humans—who they are and why they tick the way they do. This curiosity gave way to my desire to study drama, and that has translated into the versions of Riyo you have encountered on screen.

PP: When did producing enter the picture for you? Was it a creative choice, a necessity, or both? And has becoming a producer influenced the way you approach acting?

DR: Producing for me is born out of a blend of experiences I encountered from stage directing and managing a short film I was privileged to be part of. Back in theatre, as a director (I did stage directing in the university), faced with organising the structure of the play from start to finish, one has to be a visionary to see the end from the beginning. 

Although for the director, it is quite limiting because you have to consider administration, and that is where the crux of producing comes in.

Funny how I cannot answer this question without honorary mentions; Floyd (Art Anekwe), who happens to be my classmate, friend, and co-founder, birthed the idea of making a short film right after graduation. I got fascinated or should I say intrigued, as to how the moving parts worked in film, and so it was rewarding when he asked me to be a producer on our first short film. Another mention will be El Osas, who somehow believed that this Taraba boy could manage a production without any experience, but with raw talent and zeal.

When you experience how things go down behind the camera, you learn to be lenient, understanding, and very kind to the process of filmmaking, and this helps the actor in so many ways, as you pay more attention to the entire process and not just be selfish between “action” and “cut.”

PP: What experiences, from your perspective as a producer, helped you learn to be understanding towards actors and the filmmaking process?

DR: I came to understand the entirety of the filmmaking process. It’s really about having the right team—not just cutting costs, but ensuring effectiveness. You could go for a cheaper actor, but if they lack the required skill, it might extend shooting hours. I also recognise the sacrifices everyone puts in. Immediately after shooting, the actors get to leave and go back to their hotel rooms, but the crew often have to stay behind to pack up or handle other tasks. Sometimes, when actors show up late to set, it could be because they had other commitments beforehand. All of this has helped me become more empathetic.

PP: What kinds of stories are you most excited to tell as a producer right now?

DR: I enjoy human stories, though it will be a thrill to tell space stories, as I am equally fascinated by that too. I love historical drama, action flicks, dark comedy, comedy, melodrama, and the likes—just about anything that shows a man in a world similar to real life.

PP: Are there actors, directors, or writers you admire who have influenced your craft, and what is the biggest lesson you’ve learned from them?

DR: When it comes to craft influence, one would be selfish to limit influences to actors, as life shapes me every day in various ways—and music too (hip hop for the win, lol).

But to answer this question, I will mention some really striking distant mentors like Johnny Depp; the way he morphs into his roles and the type of roles he plays, like Edward Scissorhands, Willy Wonka, and my all-time favourite, Pirates of the Caribbean. Jim Carrey; because he taught me how to dream big and ask the universe for an unlimited supply, and I am receiving so much already, for which I stay grateful. Jim Iyke; because he was the first dark-skinned actor from these parts that I connected with and even role-played when practising as a child. Funny how these mentions have names starting with the letter J (just because, lol).

Some honorary mentions will be Daniel Day-Lewis, Lakeith Stanfield, Moshood Fattah, Gideon Okeke and Chimezie Imo, among others.

I appreciate working with “writer-directors,” though my mention for this will go to Babatunde Apalowo for All The Colours of the World Are Between Black and White. Some of whom I have connected with by proxy include Stephen King, because of what he did with The Shawshank Redemption, weaving a tale so beautiful it could possibly have birthed Prison Break and other prison flicks, and the writers of Good Will Hunting, Matt Damon and Ben Affleck.

Honorary mentions will be Damilola Orimogunje, Christopher Nolan, Gina Prince-Bythewood, Akinola Davies, Tosin Igho, and Angus Gibson all of whom I am yet to work with and explore story worlds with.

PP: Of everything you’ve created so far, whether acting or producing, which project has been the most memorable for you and why?

DR: This question feels like asking a parent which is their favourite child, lol. I mostly connect with everything I do. This is a hard ask, but here goes something: Walking With Shadows, because it started me out in the industry, and it was an adaptation, so I can cross that off the list. All The Colours of the World Are Between Black and White, because it gave me my international rare sighting and recognition. To Adaego With Love, because it connected me with the history of Nigeria and the veteran actors I was privileged to work with on set.

PP: Over the years, the Nigerian film industry has grown massively. From your perspective, do you think this growth is more in story quality or in global reach?

DR: I personally believe the industry is still at its baby stage and might look like it’s growing because our legends are growing old, but honestly, I believe we are only just “teething” and need more milk to grow healthy bones—which, in this case, is structure. Because no matter how many hands see and carry a baby, it still needs to grow from within. Pardon my baby reference.

PP: There has been significant growth in the film industry, so your comment about it still being in its “baby stage” sparks a level of curiosity. What do you mean by that?

DR: Like a baby, the industry can be quite selfish, we tend to want everything to ourselves. It still needs structure, and there’s a lot to be said about that. There should be more room for collaboration. We should also adopt a royalty culture, where, for example, a lead actor earns a percentage—say 1%—from a project. This could help prevent situations where veteran actors end up struggling financially after years of work. We also need more honest conversations about the challenges in the industry. People often simplify their journey by saying, “It’s God,” without addressing the real struggles behind the scenes. Additionally, having film shops where producers can rent props would be helpful. We are growing, but there’s still a lot more to be done within before we reach true maturity.

PP: With the current growth in the film industry, do you believe Nollywood is creating or has created enough space for diverse stories and fresh faces, or is there still more work to be done?

DR: I believe we have, and like the previous question, we do need structure so that these creations can be expressed and properly documented. We need film libraries.

PP: Regarding the film library you mentioned, how would it help create space in the industry for diverse stories and emerging faces?

DR: Having a film library is mainly for documentation, an archive of films. There’s a lot of repetition "rinse and repeat" in storytelling, and having access to a film library helps people understand the level of skill that has existed, the stories that have already been told, and what they need to bring to the table to improve the industry. We are riding on the backs of those who came before us. These are influences we can draw from and build upon to make things better. We really need a film library. There are so many old movies we can no longer access because they’ve been lost. We now rely heavily on platforms like YouTube—but what if YouTube suddenly is no longer accessible in Nigeria? What happens then. 

The possibility of having a film library also depends largely on the government. In each geopolitical zone, there should be at least two film libraries.

PP: What advice would you give to someone who feels talented but is discouraged by rejection or slow progress in the industry?

DR: I will firstly say it is all in your head, and that same head will either be your success or impending doom. Stay positive, pray, and work hard. God must bless you and the fruits of your labour. Besides, these experiences make the journey sweeter.

PP: Speaking of experiences that "make the journey sweeter", is there a moment when you almost gave up but didn’t and are now grateful you kept going?

DR: In 2021, I was depressed about losing a major role, but I still pushed through. I’ve learned to become comfortable with the word “No.” It’s not always a reflection of you as a performer. It could mean it’s not yet your time, not the right project, and sometimes honestly, its a no regarding skill. 

It's just a matter of how much do you want it. When you really want something go for it. I once read this in, The Alchemist: “When you want something, all the universe conspires in helping you to achieve it”

PP: In your most recent film project, To Adaego With Love, in your own words, what is the story audiences should expect?

DR: The audience should expect nostalgia and a historical expression of love, and how it is still the strongest bond ever.

PP: What role do you play in the film, and how would you describe your character?

DR: I play Captain Samuel in To Adaego With Love. Captain Samuel is a lively and bubbly Nigerian soldier who was part of the peacekeeping troops sent to the East to carry out a reconciliation programme. The rest can be seen in cinemas.

PP: Was this your first time working on a period piece set in the 1970s, and were there particular challenges recreating that time and getting into character?

DR: Yes, this film is my first of many to come—historical dramas and period pieces. I felt a brush of fresh air tied with nostalgia, from being a child and student who learnt about the war in school, and now I have to leave a printed documentation of it.

The challenge in recreating this was the thought of accuracy and how the coming generation will be influenced by this experience. I am glad we delivered. Being Captain Samuel was not a walk in the park, as I had to deal with the worry of becoming people I never met, in a time I didn’t live in. Thanks to resources on YouTube and a couple of books, I was able to become the character. We do need historical documentation of us as a people, though.

PP: How was it working with the film’s leading cast and director? Was there someone on set you learned the most from?

DR: I have learned over time and through experience to be very trusting of the process and the captain of the ship (director), which happens to be Amaka in this case. I got to speak with Amaka during auditions, and she possesses a wealth of film knowledge and culture that I admire. I gained faith in her when I received notes on the character and the film in general, and this set me up for the success we experienced.

I learned from almost all the cast; Adams for his composure and astute leadership, Uncle Bob Manuel for his depth of skill and performance, and Mummy Onyeka Onwenu, whose presence signalled a blast from the past.

PP: What do you hope viewers feel or think after watching To Adaego With Love?

DR: They will think of simpler times and be reminded of love in its purest, most honest, and rarest form.

PP: You have a recent project with African Magic, can you tell us about it?

DR: Yes, it’s a series called Dividends. It's about people dealing with financial struggles falling for a Ponzi scheme. It features actors and actresses such as Floyd Igbo, Mariam Peter (ShyTalk Active), Goodness Egbe (Omattutee James), George Chux, and many others.

PP: Finally, what do you want people to know about Riyo David that they might not learn just from your credits or a press release?

DR: Wouldn’t saying that here count as "press release knowledge"? (laughs)

I would like people to connect with my stories, as these are one of my many legacies, and to know that I am equally as human, even though the screen might paint me to be worse or better. I am just a human who loves, laughs, cries, and dances, and above all, is grateful that people can experience me.