‘I Get Royalties In Hollywood, Nothing From Nollywood’ — Omotola Jalade

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Veteran Nollywood actress Omotola Jalade-Ekeinde has drawn attention to the issue of royalties in the Nigerian film industry after revealing that she receives residual payments for her Hollywood work but has earned nothing similar from three decades in Nollywood.

The actress made the disclosure while comparing her experiences in both film industries. According to Omotola, her time working in Hollywood has resulted in regular royalty payments, despite spending significantly fewer years in the American industry.

She explained that she has worked in Hollywood for about five years and continues to receive payments connected to the use of her work. 

In contrast, her three-decade career in Nollywood has not produced the same financial benefit from the continued distribution or use of the films she appeared in.

Residuals generally refer to payments made to actors and other creatives when films or television productions continue generating income through avenues such as reruns, streaming services and other forms of distribution.

Omotola’s comments have once again brought attention to the long-running debate over how Nigerian actors are compensated after their films have already been produced and released.

The actress had previously spoken about the absence of a well-established residual payment structure in Nollywood. In June 2025, she reportedly revealed that she had participated in more than 310 Nollywood productions throughout her career without receiving residual payments. 

At the same time, she said she was receiving payments from two projects connected to her Hollywood experience.

To demonstrate the difference between the two systems, Omotola also shared images of payment documents from SAG-AFTRA, the American union representing actors in film and television.

Her concerns about the issue are not new. In 2019, the actress stated that she would no longer accept Nollywood roles unless her contracts included royalty provisions. 

Her position was based on the belief that performers should continue to benefit financially when their work remains commercially valuable after its initial release.

The question of residuals has become increasingly important as Nollywood continues to expand beyond traditional cinema and television. 

The growth of streaming platforms and digital distribution has created more opportunities for Nigerian productions to reach audiences around the world, while also raising questions about how revenue from repeated use of content should be shared with the creatives involved.

There have also been efforts to develop royalty collection in Nigeria. Mahmood Balogun, chairman of the Audio Visual Rights Society of Nigeria, said in 2025 that the collection of residuals was still developing in the country. 

He noted that the organisation had distributed royalties to some members, while actors outside the organisation were less likely to benefit from such payments.

For Omotola, the contrast between her Hollywood and Nollywood experiences highlights what she sees as a major gap in the treatment of actors’ intellectual and creative contributions.

After 30 years and hundreds of projects in Nollywood, her comments suggest that she believes the industry needs stronger systems to ensure performers can benefit when their work continues to generate value.

Her disclosure has therefore renewed discussion about the need for clearer royalty agreements, stronger rights-management structures and better compensation systems for Nigerian actors as the industry continues to grow.

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