Futura Bold

Futura book sans-serif

Futura demi sans-serif

Futura extra-bold sans-serif

Futura heavy sans-serif

Futura light sans-serif

Futura medium sans-serif

Gaya

David Imogie stepped onto the stage as a shy 10-year-old and has since grown into an industry powerhouse. His singular decision to “face his fears” opened him up to a world where he could explore different versions of himself. Today, he triples as a filmmaker, creative producer, and creative economy strategist, having spent over a decade finding new ways to tell stories.

Throughout his evolution, David’s career path as a storyteller has only been reinforced by academia. He holds a degree in communication from the University of Lagos and another in acting and filmmaking from the Royal Arts Academy.

“I would say what I studied in school, communication, is really what I’m doing,” he explains. “In communication, there’s storytelling, and that is what I actually love to do.”

“I would like to think I’m on a very, very progressive path,” he says. “What I’ve done in 10 years has been along the path of what I would have really loved to do in the trajectory of my life.”

His curiosity about storytelling moved him from the stage to the backstage, and by 2011, he had begun exploring filmmaking more seriously. Between documentaries and entertainment projects, David’s unique calling in the film industry began to take shape. His first short film, titled <a href="https://youtu.be/z0BOyMeDJfU?si=8lE222ZHWXjVvKsc">“IJU: The Story </a>Before", followed in 2020. The film, which explored the lives of women living with fibroids, further defined what storytelling meant to him beyond entertainment. Ever since, he has prioritised the impact his stories make on his audience.

“This was the first time I was exploring film from a deeper perspective,” he says. “All the other times, I think we made film for art, but in this particular movie, I got to experience life in filmmaking.”

Making the project placed him in rooms where women openly discussed their experiences with fibroids. He was exposed to the realities behind the subject he was portraying, including being present around surgeries and hearing his own mother’s story.

Unlike when he started acting for exploration, he found something deeper in filmmaking. Filmmaking is most “precious” to him because it allows him to use stories to engage with real experiences and, potentially, influence how people think.

“It just changed my perspective in storytelling,” he recalls. “Like, that was when I really knew that I would literally do a lot more work in social impact storytelling than maybe in any other form. How beneficial the film was made me know I did something commendable.”

That experience also redefined what success in filmmaking meant to him. In addition, it increased the level of satisfaction he derived from filmmaking. In his words, “It is a blessing to get to do what you love and call it work. And I think that’s fulfilling enough.”

It even made it easier to face his fears, like when he had to get on a boat to attend a film masterclass, despite not particularly enjoying being on water.

“When you do what you love, you’ll be willing to even take risks. I’m trying to say that when you do what you love, fear takes the back seat.”

So, when we asked about his creative process, it was no surprise that it entails understanding why the story needs to be told in the first place before all the strategising, budgeting, outsourcing and collaborating that, in his books, make up an excellent creative producer.

While audiences only experience the finished film as a single product, David knows that the final two hours represent months of hard work, challenges and people management behind the scenes. That is why one of his biggest frustrations is the misconception that producing a film is simply about getting a movie made.

“There’s so much that comes into producing that people don’t understand.” According to David, producers have to wear several more hats at once than they get credit for.

“As a producer, you are an accountant. You are a communicator. You have to be a good hirer, a good human relations person. You also have to be a good negotiator and risk taker.”

A producer may be given a significant amount of money and expected to turn it into a profitable production within a particular timeframe. That requires more than creative instincts; it requires the ability to make calculated decisions about money, people and resources.

Now, this is where he makes an important distinction between just being an executive producer and being a creative producer.

“The creative producer has some form of input on the story, on how the story comes out,” he explains. “It means you must be creative first. Whereas the executive producer may just be responsible for putting the right people and resources together to execute a project.”

A creative producer understands the story, contributes to its development and works closely with the director. Rather than simply hiring people and overseeing logistics, the creative producer becomes part of the creative process. That role can also make a significant difference to a film’s budget.

In other words, resourcefulness is part of the job. It is why David believes producing is something people should learn rather than simply claim. Having access to money, he argues, does not automatically make someone a producer.

“Producers grow through the ranks,” he says. “It takes learning and experience.”

And while directors often receive more visible recognition for a finished project, David believes the producer remains invaluable to the entire process.

Ultimately, though, David believes the most difficult part of the job is the people rather than the financial risks and consequences involved. To him, the ability to manage different personalities, expectations, and creative visions can determine whether a production stays on course or not. And in turn, that can even curb issues that will lead to financial setbacks.

As proof of his prowess, David’s biggest lesson in production is simple: “Don’t leave it till post. If you can retake the sound or action, retake it.” While many producers may not like to hear this, he believes that the unturned stones will come back to bite you and compromise your production if left until post-production.

David is among the filmmakers in Abuja endeavouring to bridge the gap between Lagos—the entertainment capital—and the blooming creative industry in Abuja. He believes in the potential that resides in Abuja and is not passive about doing his bit. By contributing to discourses, sharing knowledge, and even organising events like <a href="https://www.instagram.com/the.portrait.party?igsh=MXVraTdpd29uemNkcg==&amp;igsi=MXVraTdpd29uemNkcg==">“The Portrait Party”</a>—an event where creatives get to hang out, network, and get their headshots—David hopes to keep Abuja at the heart of the creative industry in Nigeria and beyond.

The standards David upholds in his personal life are reflected in various aspects of his life, from his discipline to take daily walks and listen to uplifting podcasts early in the day to his commitment to remain grounded in his faith. They are also evident in the kind of work environment he creates on set, where people are respected, and certain language and behaviours are not tolerated.

Storytelling is beyond a profession to David Imogie. He sees it as a part of his purpose and treats it as such. After all these years, he is only becoming more deliberate about the legacy he wants to leave behind.

“I hope people remember me as someone who did my best, who loved God, and loved people. I hope they remember me as someone who told the best stories, someone who changed lives, made people happy, and made money,” he concluded.

Meet David Imogie, the filmmaker, producer, and creative economy strategist using film to tell stories that matter, spark conversations, and create impact beyond the screen.


read more