Biyi Toluwalase Puts Story First in Every Nollywood Film He Edits

Ikenna ChurchillMay 16, 20253 Mins read78

The editor behind Gangs of Lagos, Sista, and Makemation talks about invisible storytelling, creative trust, and why caring about the project is everything—often laughing during our call, his voice carrying the quiet pride of someone finally stepping into the light.

Biyi Toluwalase has spent over a decade shaping stories from the shadows. As the editor behind pivotal Nollywood films like Gangs of Lagos, Passport, Sistá and the AI-tech family film Makemation, his fingerprints are on some of the industry’s most daring projects. Yet until now, he’s avoided the spotlight—a deliberate choice for an introvert who once questioned if his work was “good enough” to discuss publicly.

“Editors are invisible storytellers,” he tells West Africa Weekly, “but Makemation feels like the right moment to step out.” This shift isn’t just about promotion; it’s a testament to his belief in the film’s groundbreaking potential. In his first in-depth interview, Toluwalase opens up about his craft, the delicate dance between director and editor, and why empathy—not ego—fuels his process.

Toluwalase rejects the idea of a signature style. “I haven’t ‘figured out’ my editing style,” he laughs. “The story dictates the rhythm.” For Sistá—A struggling single mother’s world unravels when her children’s estranged father suddenly returns, stealing their affection as he tries to atone for his past—he leaned into lingering close-ups to amplify tension. In The Kujus Again, a family comedy, he prioritised snappy cuts to match its buoyant tone.

Rule he always breaks? “The myth that you need expensive gear to innovate.” He recalls repurposing a “bad take” from Sista—a reaction shot initially deemed unusable—to heighten a pivotal emotional moment. “The director questioned it, but when she saw the final cut, she understood.”

For Toluwalase, editing is emotional archaeology:

You dig through hours of footage to find the heartbeat of a scene. Sometimes that means using a shot the director never intended.

As Head of Post-Production at Circuits TV, Toluwalase now oversees workflows for streaming hits. The role has taught him to balance control with collaboration. “Early in my career, I did everything myself. Now, I trust my team to bring their perspectives—even if their approach differs from mine.”

When clashes arise, he prioritises dialogue. During Makemation’s VFX process, he clashed with an artist over workflow. “Instead of forcing my template, I asked, ‘How do you work?’ We merged our methods.” This flexibility, he says, is key to scaling Nollywood’s technical ambitions: “We’re learning from global studios while staying rooted in our realities.”

Toluwalase’s collaborations with directors like Jade Osiberu (Gangs of Lagos) and Biodun Stephen (Sista) hinge on one principle:

Let the director know you care. He recalls a fraught project where creative clashes stifled progress. Without trust, you second-guess every choice. Now, I focus on building relationships before the edit begins.

On creative disagreements: “It’s their film. If they insist on a cut I disagree with, I’ll try it their way first. Often, we find a middle ground.” For Makemation, director Michael Akinrogunde (also known as AMA Psalmist) wanted a frenetic pace to mirror Lagos’ tech hustle. Toluwalase countered with slower, introspective moments. “We screened both versions. The hybrid approach won.”

Makemation—a coming-of-age tech drama about a gifted teenage girl navigating Nigeria’s most elite tech institute—marks Toluwalase’s boldest project yet. “It’s not just a film about AI,” he says. “It’s about ambition, access, and the ethical lines we cross to belong.” The trailer premiered at Dubai’s Global AI Week, making it the first Nollywood film to debut at the international tech event. “We’re entering spaces Nollywood hasn’t traditionally reached—global tech circles, policy forums, academic labs. That’s groundbreaking.”

Toluwalase’s reluctance to engage publicly stemmed from imposter syndrome. “I’d list my films and think, Is this enough?” A turning point came when a colleague urged him to own his legacy. “I realised: who will if we don’t champion our craft?”

Still, he wrestles with the spotlight.

I’m an introvert. But Makemation isn’t mine—it’s proof of what Nollywood can achieve. That’s worth talking about.

Toluwalase’s journey mirrors Nollywood’s evolution from scrappy DIY roots to global sophistication. He says, “We’re no longer just ‘making do.’ We’re setting standards.” For aspiring editors, his advice is simple: “Care deeply—not just about cuts, but about the people you collaborate with. That’s where the magic hides.”

With Makemation poised for its last week in the cinemas, Toluwalase remains focused on the invisible work. “The best edits go unnoticed. If you’re swept into the story, I’ve done my job.”