1. Can you tell us more about your business and what it specializes in?
Fatherland Productions is an international film and production company dedicated to telling authentic African stories and redefining the African narrative. Our focus is on capturing the richness and depth of African culture, history, and contemporary experiences, but doing so with an unparalleled level of detail and excellence that resonates on the global stage. Through our work, we aim to shift perspectives, celebrate African creativity, and create films that are both culturally significant and universally compelling.
2. When and why did you start your business, and how did the journey begin?
We started Fatherland about five or six years ago when my co-founder, Wale Davis, saw a gap in Nigeria’s growing production industry. With his music background, he set out to build something that could tell authentic African stories with excellence.
When we met, we worked on each other’s projects as freelancers and quickly realized our synergy. That led to the bigger vision, creating a company that not only tells powerful African stories but also prioritizes care in the process.
In Nigeria, production crews weren’t always treated with the respect they deserved, despite the hard work they put in. We wanted to change that by fostering an environment where everyone, from cast to crew, felt valued and supported. That commitment to care and excellence is what Fatherland is built on.
3. What is your role in the company, and what does it entail?
I’m currently the chief executive officer of the company, a fancy way of saying I do a bit of everything. My role spans business development, project execution, financing, legal, operations, and administration. Essentially, I’m involved in every aspect of the business, ensuring that everything runs smoothly and efficiently.
4. Where did you study, and what was your field of study?
I studied law at the University of Kent in Canterbury, England.
5. Why did you move from law to film production?
I didn’t plan to move from law to film production, it just happened organically. While studying law, I was very committed and even dreamed of becoming a solicitor. But by my second year, I started feeling like law was a means to an end rather than the end itself. I stuck with it, qualified in Nigeria, and practiced in a maritime law firm for a year. The work wasn’t bad, but I felt like I wasn’t fully expressing myself.
On the side, I had done commercial modeling since secondary school, so I was familiar with film sets, but only from in front of the camera. One day, a DP I met on set asked if I could help with admin for a project. I initially declined, but when he asked again, I said yes, just for three months. That project turned out to be a Google documentary series covering 16 African stories across eight countries.
I found myself traveling, working behind the scenes, and absolutely loving it. I felt so fulfilled knowing I was helping bring people’s stories to life in a way that would last forever. That feeling of being part of something bigger than myself has kept me in production ever since.
6. How did you finance your business in the early stages?
Honestly, in the early days of Fatherland, there was no external funding; it was all self-financed. My partner, Wale, and I were already working in production, executing commercial jobs, as we call in the industry “service companies” or “fixers.” Essentially, if you wanted to shoot in Nigeria, we handled everything end-to-end, hiring crew, securing equipment, managing travel, the whole process.
The income from those jobs was what we reinvested into Fatherland. We’d set aside funds, cover our costs, pay ourselves a little, and put the rest back into the business. It was a continuous cycle of working, saving, and reinvesting that allowed us to build a financial structure for the company from the ground up.
7. The film industry remains largely male-dominated, especially behind the scenes. What challenges have you faced as a woman leading a production company, and how have you dealt with them?
The challenges I’ve faced as a woman leading a production company can be split into a few key areas. First, being young in a field like production often comes with people questioning my leadership and abilities. Despite being young, I’m prepared and capable, but there’s sometimes a hesitation to trust that due to my age, which isn’t necessarily gender-specific but still a challenge.
Secondly, being a woman leading men presents unique hurdles. In some cases, men struggle with receiving direction from a woman, which can lead to them clamping up or pushing back. There’s also a prevailing perception, particularly in Nigeria and across Africa, where people often question how a woman got to her position, by associating success with personal connections or assumptions about one’s integrity. These biases can be subtle but are definitely present.
Lastly, there’s the age difference between me and older men in the industry. In African culture, especially in Nigeria, women face expectations about what they should or shouldn’t do, and when younger women lead older men, there can be resistance to the authority a woman holds.
To deal with these challenges, I focus on creating an environment of trust and compassion from the start. I work closely with heads of departments to ensure they lead their teams effectively, acting as the first point of contact for any concerns. I also maintain transparency, keeping my word and making sure the team knows I’m not trying to pull any fast ones, so they can relax and focus on creating something beautiful together.
Moreover, I value the support and partnership of the men I work with. Their open-minded approach often helps break down the biases others may have, and seeing them comfortably entrusting our business to a woman resets how others view me. This partnership plays a crucial role in navigating the challenges I face.
8. How do you approach leadership in your company, and do you think women bring a unique perspective to running a production house?
My approach to leadership is rooted in care and empathy. I believe in looking out for both the people I work with and the projects we’re creating. I don’t believe in shouting or demeaning anyone. If something goes wrong, we correct it constructively. I learned the value of this approach through my own experiences in production, where I resisted toxic leadership styles.
I think women bring a unique perspective to leadership, especially in how we balance soft power with directness. It’s about knowing when to nurture and when to take a firm stance. Authenticity is key, and I believe leading from a place of groundedness allows us to approach every project with care. A production company is like a baby; every project is something we nurture and grow. As a leader, I’m responsible not just for ideas but for the people behind them, ensuring that everything we create is treated with respect and care.
9. Since you started, what changes have you seen in the industry regarding gender inclusivity, and where is progress still needed?
Since I started, I’ve definitely seen a significant shift, particularly in how women are stepping into more leadership roles in the industry. We’re seeing more women becoming producers, directors, and taking charge in ways that were not as common before. In Nigeria, for instance, we have some truly amazing female film directors and producers, and that’s been a huge part of the progress. It’s been inspiring to see the industry evolve in that direction.
However, there is still a noticeable gap, particularly on the technical side. When it comes to roles like female directors of photography (DPs), gaffers, and assistant camera operators, the numbers are still quite low. There’s a clear underrepresentation of women in those skill sets, and I’d love to see more progress in that area. It’s important to ensure that women have equal opportunities to work in those technical roles, as that’s where I believe we still have some work to do.
10. Can you describe a typical workday for you, if such a thing exists?
A typical workday for me doesn’t exist, it varies depending on whether or not we’re actively working on a project. When we’re not on a project, my day is filled with a lot of executive functions. I spend time overseeing meetings, negotiating deals, making decisions, hiring, and setting operational processes and structures. There’s also a fair amount of reading, as I need to stay on top of the stories we’re putting out, and I spend time on critical thinking and providing feedback.
When we’re actively working on a project, my day looks very different. It’s all about managing the chaos, putting out fires before they become problems, anticipating potential issues, and always staying ready to handle anything that comes up. It’s a lot of quick thinking and problem-solving in real-time to keep everything moving smoothly. So, whether it’s smooth sailing or firefighting, my days are never quite the same!
11. How do you balance your work life and home life?
Balancing work and home life is something I’m still figuring out. I’ve learned to set specific times for things that matter most to me, like reading and physical health. For example, I’ve blocked out the first two hours of my day for quiet time and reading, though I’ve admittedly slipped recently due to travel. But I’m committed to getting back on track.
I’ve made working out a priority for my physical health, and I recently hired a trainer so I don’t have to think about what to do. Maintaining a routine helps me stay balanced, but I’ve also learned to forgive myself when things don’t go as planned. Schedules are not set in stone; they need constant review, and that’s okay.
Lastly, rest is crucial. I’ve made it a point to schedule a full day off each week to recharge, usually on Saturdays. I’ve realized that taking time for rest is just as important as the work itself.
12. What drives and inspires you in your work?
What drives and inspires me in my work can be summed up in three parts: people, stories, and systems. First, being a part of something that feels bigger than myself is a huge driving force. It’s about contributing to something meaningful and impactful. Second, I find immense inspiration in collaboration. I love seeing people come together to work towards a common goal, and I take great satisfaction in architecting the systems that facilitate this collaboration.
Lastly, systems themselves inspire me. They allow us to replicate success, creating structures that can consistently produce positive results. So, in essence, my work is driven by a deep connection to people, the power of storytelling, and the efficiency of systems.
13. Where and when do you find yourself having your best ideas?
I don’t have a specific place where I have my best ideas, they can come to me at any time. But I do find that it usually happens in moments of quiet or reflection, when I can pull back and just think. It could be on a plane, during a walk, or even in the middle of a meeting. I had an idea today while in a meeting, so it’s not always about being in a completely quiet space!
14. What’s next for Fatherland? Are there any new projects you’d like to share?
Absolutely! We’re incredibly excited about our very first feature film, which is set to release later this year. It’s a drama set in the ’90s, shot entirely in Lagos and Ibadan. The story was written by my partner, Wale Davis, and directed by Akinola Davis Jr., our other partner. It’s an exciting debut for us in feature filmmaking, and we’re proud to have partnered with Element Pictures, the BBC, and the BFI on this project. The film was funded through these incredible partnerships, making it a truly unique venture for Fatherland. We can’t wait for the world to experience it!
15. How does this upcoming project align with your broader vision for the company?
This upcoming project aligns with our broader vision by helping to redefine the African narrative. We aim to tell authentic, character-driven stories that reshape how people see and think about us on a global scale. Through this project, we want to highlight the multi-dimensional nature of African cultures and show that our stories are valid and worth sharing worldwide.
Additionally, we are committed to creating opportunities for local talent, showcasing their work globally, and demonstrating that careers in film and creative industries are not only possible but also impactful. The diverse, international crew involved in this project reflects our commitment to inclusivity and global collaboration, which is central to our mission.
16. What advice would you give to aspiring female entrepreneurs looking to start their own business?
My advice to aspiring female entrepreneurs is simple: just start. Start small, start with what you know, and focus on upskilling. Learn as much as you can so that you become sought after for your expertise. Don’t rush the process of growth; it’s essential to take the time to develop your skills and knowledge. Please don’t fall into the trap of taking on titles for the sake of it; do the work first, and let the title follow.
Also, remember that collaboration is key. You don’t need to know everything, and that’s perfectly okay. Your superpower lies in recognizing what you know and what you don’t, and then partnering with the right people who can complement your skills. You don’t have to do it all alone; teamwork and learning from others are critical to your growth as an entrepreneur.
Short bio
Co-Founder and CEO of Fatherland is a Sundance Award-winning and BAFTA-nominated producer shaping African storytelling. She’s worked with brands like Google and Victoria’s Secret and produced Lizard, the first Nigerian short to win at Sundance. Now, she’s leading a groundbreaking collaboration with Element Pictures on Fatherland’s debut feature film. Funmbi’s engaging personality and unique perspective make her a joy to listen to.
Reach out via Instagram @funmbi_o and on LinkedIn, Funmbi Ogunbanwo
