Getting to Know Rogba Arimoro Prior to Stardom

n n

Could you tell us about your educational background?

n

I started studying Engineering at the University of Lagos but changed course along the way and graduated with a degree in Actuarial Science, which, in many ways, shapes how I approach the creative industry today. Even though I didn’t remain in that field, the training forces you to think in terms of systems, risk, and long-term value. That perspective stayed with me. So, when I eventually moved into the creative space, first into music, and later into film and television, I wasn’t just thinking about the creative side. I was also thinking about how things are structured, how projects are developed, how value is retained, and how work can extend beyond the moment it’s released.

n

Have you always dreamed of being in the creative and entertainment industry?

n

Not exactly. I didn’t start with a fixed idea of where I wanted to end up. My early experience with Knighthouse exposed me to how creative systems evolve in real time and how talent is developed, how collaborations happen, and how industries begin to take shape. Over time, that curiosity deepened. At some point, it became less about participation and more about understanding structure: how projects are developed, how decisions are made, and how value is created or lost. That shift in perspective naturally led to taking on more responsibility within the process.

n

What were the challenges you encountered at first?

n

One of the earliest challenges was navigating systems that were still evolving. There was a lot of creativity, but not always a clear framework for sustainability or long-term value. Moving from music into film and eventually into television, particularly within structured commissioning systems like Africa Magic, meant starting again by learning a different language of storytelling, building new relationships, and understanding a more formal production environment. Over time, the challenge becomes less about access and more about alignment, like how to work within existing structures while still building something that can last beyond individual projects.

n

Who were the public figures whose words and actions motivated you?

n

Early on, working within Knighthouse, I was exposed to people like Clarence Peters, whose approach to visual storytelling and production discipline stood out. You could see how much thought went into execution, not just ideas. Later, moving into television, collaborating repeatedly with filmmakers like Tosin Igho reinforced a different perspective on how to work within structured production systems while maintaining creative clarity. Those experiences shaped how I think about the industry. It becomes less about individual inspiration and more about observing how people operate within systems; how they approach craft, scale, and long-term positioning.

n

As a director at Africa Magic, what are the principles you abide by?

n

Working as a showrunner and director within a system like Africa Magic, where commissioning drives a large part of production, requires a balance between creativity and structure. On one hand, you have to deliver consistently within defined timelines and formats.

n

On the other hand, you still have to maintain clarity of storytelling and character. The principle I try to hold onto is alignment, especially ensuring that the creative, the production process, and the delivery requirements are all working toward the same objective. Without that, even strong ideas can get lost in execution.

n

What were some of the admirable feats you attained?

n

I tend to think about progression rather than isolated achievements, but certain projects do mark shifts in how I approach working within the industry. Early on, I made a short film called Tokunbo on a mobile phone, which went on to gain some level of success. Tokunbo was important because it represented my transition into film and developed a willingness to experiment with limited resources.

n

Within television, projects like Judging Matters, Refuge, and Mother of the Brides reflect different stages of working within the Africa Magic commissioning system. It was me moving from contributing to productions to taking on broader responsibilities across directing, production, and showrunning.

n

More recently, film projects such as A Very Thin Line and Karama represent a shift toward longer-form storytelling and a more deliberate focus on ownership and development beyond commissioning structures.

n

Has fame changed the way you do things?

n

Visibility changes certain dynamics like access, expectations, and the kinds of conversations you are part of, but it doesn’t fundamentally change the work. If anything, it increases the need to be more intentional. As projects grow in scale, particularly within structured production environments, the focus shifts from just execution to sustainability. Now it’s about more than just what you’re building. It’s also about how it’s structured, and whether it can hold value over time.

n

What advice do you have for youths entering the creative and entertainment industry?

n

I would say, first of all, just start with what you have; stop waiting for bigger budgets, better cameras, or stronger connections. What you create is what will speak for you. The second is to focus on understanding the system, not just the output.

n

A lot of people come in thinking about visibility, getting projects made, and getting attention, but that’s only one part of it. The more important question is what happens after: who owns the work, how it is distributed, and how value is sustained over time. That is how you build.

n

If you understand that early, it changes the kind of decisions you make. It pushes you to think beyond individual projects and toward building something that can last. Creativity will always be important, but structure determines longevity.

n n