Diji Aderogba: From Mentoring Under Tunde Kelani To Directing Showmax’s First Nigerian Original Comedy Series

It’s not often that we see creative people well-rounded enough to have experienced film from all aspects. Diji Aderogba has laid claim and proven his talent, making him worthy of bearing the titles writer, filmmaker and director. A love for film spurred his foray into the movie industry.

He was born in Abeokuta, Ogun State, and spent most of his childhood there. As a young boy, Diji grew fond of movies and curious about how people made films. Whilst his interest in film was genuine and apparent, he wasn’t allowed to study it.

“I wanted to study Mass Communication, but the issue of some parents not wanting their kids to study Mass Communication came up. Eventually, I studied English Literature. Meanwhile, as an undergraduate, I had sent Tunde Kelani some messages on his social media handles, asking him to be my mentor since I loved his style.”

Although he studied English Literature at Redeemers University, Diji remained resolute in his passion for film.

“I remember when I was watching a film by my mentor, Tunde Kelani, it was Saworoide, and I told my people that I wanted to be a filmmaker. I want to make films like this, even though I didn’t know anything about filmmaking. But I knew I was interested. I knew I wanted to make films like that. So I started studying films, not just watching them. I would ask myself, ‘Why did this person do this?’, ‘Why did the camera go this way?’ or ‘Why did the person face this way before facing that way?’ And I started studying the world of Tunde Kelani, Kunle Afolayan and more.”

When he graduated from university, Diji went ahead to study at the Mainframe Film and Media Institute under the tutelage of renowned filmmaker and director Tunde Kelani, where he majored in directing, cinematography and writing; later starting a career as a professional filmmaker.

“In 2016, I sent him (Tunde Kelani) a mail that I was a scriptwriter and a director, basically pitching myself. He didn’t reply me until a year later. But apparently, he’d been following my work and seeing my tweets and all that. So it was effortless for us to set up a meeting. This was in 2017. I went to film; then I started shadowing him on sets, going where he went, and that’s how he became my mentor. He is somebody I call every time I need help, advice or assistance.”

Diji is an AMVCA nominated director who has made a name for himself, telling conscious stories that address societal issues. In 2020, one of his documentaries, “Hidden Euphoria”, was nominated for Best Documentary at the AMVCAs. His debut feature film “About A Boy” won the “Audience Choice Award” at Nollywood Film Week in Paris, France, in May 2021.

Speaking with Netng, Diji shared more about his film journey, the inspiration behind his work and the people who have helped him.

Besides the fact that people want to lift the voices of Makoko residents, what inspired you to make your first documentary, Hidden Euphoria? Knowing that Makoko is a tight-knit community, they do not appreciate people with cameras invading their space.

Doing that documentary on Makoko was unexpected. You know I wasn’t born or bred in Lagos. One day, as I passed the third mainland bridge, the place caught my attention. It wasn’t even the water; it was those buildings I saw. So I asked my friend, ‘what’s the name of this place?’ and he told me ‘Makoko’. So I went back to the place to know what Makoko was all about. I remember telling my friend that I would tell a story, but I didn’t know what I would do.

Then my friend called me that she wanted me to help her direct a show, but I told her I was working on a documentary about Makoko. And surprisingly, she was from Makoko. So she asked me to come to Lagos, and she would be my guide. And I called another friend to help me. I didn’t even have money to rent cameras. We ended up using his iPhone. I knew the story I wanted to tell. We shot 80% of that documentary on my friend’s iPhone. I feel like God just gave me that documentary at that time. I don’t even like water, but I had to move around on water to do it. And it was worth it in the end.

How did you meet Basketmouth and get involved with Ghana Jollof?

We’d never talked before. I only met him once, and I could only admire him from afar. So I woke up one day, and I noticed that he had followed me on Instagram, and he sent me a message. So we started talking. We actually wanted to work on something else but couldn’t because of COVID-19. Two days after I got a call that my dad passed, a producer (Solomon) called me. He introduced himself, said he’d been following my work and told me he had a project with Showmax for me. I didn’t know Basketmouth from anywhere before.

Was this your first time in Ghana?

Yes, and Ghana has always been one of the top African countries I wanted to visit.

You’ve worked on feature films, documentaries, even a rom-com web series, but comedy is a whole different ball game. What was it like working with diverse talent to create something new?

I forget that you’re someone famous or whatever when it comes to work. But the entire team made it easy. My producer (Solomon) made it easy for me. The whole crew and cast were great. The set was like a family. After three days, it was like everyone was connected. Everyone knew what their roles were, and they played them to perfection. Basketmouth really helped. You know comedy is his work, so he assisted me a lot in that regard.

You’ve dabbled in many genres and film types; what do you think is the next direction for you?

As a storyteller, I wouldn’t want to box myself in. Honestly speaking, I never saw myself directing a comedy series. It is tricky; something funny to you might not be funny to someone else. So when you decide to do a comedy and people enjoy it, that’s the top thing for me. For now, I feel like whatever story comes my way, I’ll read the script, and if it’s something I like and the story is good, why not? If it’s horror, comedy, drama or suspense, I’m willing.

Is there any story that you want to be attached to your name in the course of your career, an ‘I must tell it before I die’ story?

I don’t think any one story or genre holds this over me. I think I’ve done most, if not all, of the stories I want to tell. I’m a conscious filmmaker; my first story was about rape and domestic violence. My second story was about child education and child labour; my first documentary was about people living in a society that needs help. My first short film was about mental health. My debut feature film was also about mental health. I feel like I’ve touched all the topics that matter to me. I’ve laid a good foundation. All that is left is to build upon it.