Drawing parallels to scenarios in education, healthcare, and banking, Afod suggested that such experiences are not unique to Nollywood. He emphasized the role of consent, stating, "We are adults. There is consent. If you attend school, they will likely ask you out. If you are a nurse, doctors might ask you out. Patients might ask you out. If you like, you agree."
Afod further argued that while individuals might attempt to leverage personal attributes to advance their careers, genuine and lasting success in Nollywood ultimately hinges on talent and skill. "Without talent, even selling your body won’t get you far," he asserted, stressing that skill and creativity are the cornerstones of longevity in the industry.
Using an analogy of a football coach selecting players, Afod posited that individuals might use what they have to gain an advantage, but ultimately, merit prevails. He stated, "If I were a coach, I have 21 players. And I am going to use 11. Probably, I might have 14 good players. If you want to get your way, you will use what you have to get your way." He attributed the saying "Use what you have to get what you want" to some women, though he did not specify the context within the industry.
However, Afod firmly maintained that talent supersedes any perceived shortcut. "But see, let me tell you the truth. Your talent will always be ahead in everything. If you are not good and you sell your body, you are just wasting your time. Because they will not use you."
He further contended that talented individuals who refuse to compromise their integrity will still rise to prominence based on their abilities. "But if you are good and you insist that you are not going to lay on anybody’s bed. That talent will still put you on that spot."
In a bid to empower aspiring filmmakers and potentially circumvent such alleged exploitative dynamics, Afod passionately encouraged self-production. "One thing I tell people, bring out those that said they raped them in the industry... Let everybody have their own money and produce their own movies. It is as simple as that. Everybody can produce. That’s Nigerian style. Everybody can produce movies. Everybody can. You can."
Afod's comments have already begun to elicit varied reactions within Nollywood and among its observers. While some may interpret his statements as a pragmatic acknowledgment of the realities of navigating a competitive industry, others are likely to view them as a dismissal of serious allegations of sexual exploitation that have occasionally surfaced within the entertainment world.
The debate surrounding the prevalence and nature of such incidents in Nollywood is expected to continue in light of Afod's remarks.