Nnamdi Agbo, a fast-rising talent in Nollywood, has continued to captivate audiences with his dynamic on-screen presence. In his recent role as Skipper in Hijack ’93—a film depicting the infamous hijacking following the annulled 1993 presidential elections in Nigeria—he takes on the challenging role of the gang leader. The Guardian Life sat down with him to discuss his thoughts on historical storytelling, the importance of representation, and the journey of his acting career.

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Did you always know you were going to be an actor, or was there a specific moment that defined this path for you?

Yes, I always knew I was destined to be an actor. I participated in nativity plays as a child, but I think I was absolutely sure of what I was going to do with my life after watching Hamlet as a secondary school student.

With your classical training and extensive experience across film, TV, and theatre, how have these elements prepared you for your recent role in Hijack ’93?

Honestly, each medium has shaped me in unique ways. Reflecting on it now, I realise I began preparing for Hijack ‘93 long before I was cast. Many of the characters I’ve portrayed, whether on stage or in film, share qualities with this role, helping me familiarise myself with the nuances of playing Skipper and deepening my growth as an actor.

READ ASLO: Netflix unveils trailer for Hijack ’93

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What’s your view on retelling historical stories in Nollywood, and how do you balance historical accuracy with your creative process?

Retelling our stories is essential—it shapes how we’re perceived and helps us understand who we are as a society. Nigeria’s history is rich with events that have profoundly impacted our identity. For us to move forward, we must honour both the past and present by telling our stories and re-educating our society.

When it comes to balancing historical accuracy with creativity, it’s important to remember that unless it’s a documentary, absolute accuracy is challenging. As a filmmaker, I have the creative license to shape the story in a way that remains true to the essence of the events without losing sight of critical details. While education is a priority, entertainment is also essential.

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You’ve played a diverse range of characters in Cheta M, Crazy, Lovely, Cool, and Hijack ’93. Is there a unique pattern or process you follow when preparing for each role?

Absolutely. As an actor, my preparation involves asking fundamental questions like, “Who is this character? What are their objectives? What obstacles do they face, and how do they overcome them?” The script, alongside insights from other characters, provides valuable information. From there, I add and adjust elements to align with both my vision and the director’s interpretation of the character.

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What’s your perspective on the evolution of storytelling in Nollywood from then to now?

Nollywood is still evolving, and even globally, the work of storytelling is never complete. From the VHS era to the cinema age in Nigeria, we’ve made significant strides and continue to progress. With young, passionate filmmakers—myself included—Nollywood is undoubtedly on its way to even greater heights.

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You’ve portrayed real-life figures, from Mohammed Babangida in Badamasi to Patel in Gandhi: The Musical. What unique challenges or insights do you experience when portraying historical figures?

Playing real-life figures offers a unique opportunity to take a deep dive into the lives and decisions of these individuals. Representation is critical, and while achieving perfect accuracy is impossible, it’s important to be as close as possible. One insightful aspect is the ability to question their choices, often juxtaposing them with my own, though without judgment—this approach helps in delivering an authentic portrayal.

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Your film, Bound: Lost in the Moment, is the first Nigerian film to address multiple personality disorder, a rare topic in Nigerian cinema. What inspired you to focus on mental health?

Mental health is an urgent issue that affects many Nigerians, yet it remains under-discussed. I was inspired to create Bound: Lost in the Moment after encountering a woman at a bus stop who was speaking to herself in different voices. I was both confused and intrigued, and it reminded me of a former neighbour with a similar condition. Around that same time, the film Split was released, which helped me recognise her behaviour as a possible case of multiple personality disorder. I felt it was important to highlight this topic because many Nigerians remain unaware of such conditions.

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The Gods Must Be Strange was Nigeria’s entry for the Kultur Symposium Weimar. As a director, what was your vision for this film, and how was it received on an international platform?

My vision for the stage play was to tell a story that depicted people with disabilities as ordinary individuals. We aimed to show that every person is important and that together, we build stronger communities. The response internationally was positive, highlighting a shared recognition of this message.

Are there any specific themes or projects you’re eager to explore in the future?

Yes, there are a few, but I’d prefer to keep those under wraps for now. All I can say is—watch this space! (laughs).
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