Bukky Wright actors criticism highlights lateness on Nollywood sets as the veteran actress calls for greater discipline and professionalism
Veteran Nollywood actress Bukky Wright has criticised actors who arrive hours late for scheduled shoots in Nigeria, saying the practice undermines discipline and professionalism on film sets as she reflects on changes she has observed since beginning her career.
Wright made the comments during an interview on Jay On Air TV, where she recalled seeing actors who were expected on set by 9:00 a.m. arriving as late as 2:00 p.m. or 3:00 p.m.
“Sometimes I will go to locations. These days, I will see a lot of actors that are meant to be on set by 9am just strolling in by 2 or 3pm,” Wright said.
For the 59-year-old actress, the difference reflects a wider change in the working culture of Nollywood.
Wright contrasted what she sees today with the industry she entered decades ago, when she said actors were more committed to their work and productions were marked by greater discipline.
“The old Nollywood, I’ll tell you, had the spice. They were wonderful actors and people were really dedicated to their jobs. Back then, we had a lot of discipline,” she said.
Her comments come as Wright herself enjoys a notable return to the Nigerian film industry after spending years away from regular Nollywood production.
The actress has previously explained that she relocated abroad largely because of her children and said she would make the same decision again if faced with a similar choice.
In July, she told The Nation that motherhood had taken priority over her career at the time.
Her return has since included a major personal project, The Return of Omotara Johnson, a sequel to the 2008 Yoruba film that helped cement her reputation as one of Nollywood’s recognisable stars.
The film premiered in Lagos in July 2026 after an earlier Abuja premiere, marking Wright’s return to the producer’s chair and to one of her best-known screen characters.
The production also brought together several established names in Nigerian cinema, including Richard Mofe-Damijo, Shaffy Bello, Chidi Mokeme, Ali Nuhu, Timini Egbuson and Nse Ikpe-Etim.
That comeback gives Wright’s comments on professionalism a particular resonance. She is not speaking only from memory, but from renewed experience on contemporary sets after a lengthy absence.
Wright also recalled the challenges she faced when she first entered Nollywood, describing the industry at the time as largely dominated by men.
Rather than allowing that environment to discourage her, she said she was determined to establish herself.
“I remember when I came in because it was mainly a men-dominated industry, but I was like, no, I’m going to do it. And I did it,” she said.
Her career began in the 1990s, with early appearances including Wale Adenuga’s Super Story.
Her breakthrough came through films such as Tunde Kelani’s Saworoide, before she became associated with productions including Omotara Johnson, Abeni and The Narrow Path.
Wright’s assessment of the industry’s changing culture also comes at a time when Nollywood has expanded significantly, with productions increasingly reaching cinema audiences and streaming platforms while attracting larger casts and more commercially ambitious projects.
The growth has brought new opportunities, but it has also placed greater emphasis on the professionalism of actors and crew members.
Delays on set can affect schedules, increase production costs and disrupt the work of other departments.
Wright’s criticism, however, was framed around her personal observations rather than a condemnation of the entire industry.
Her own recent work suggests that the veteran actress remains invested in Nollywood’s future.
The Return of Omotara Johnson was released nationwide in cinemas in July, nearly two decades after the original film became a familiar title among Yoruba film audiences.
The return has also allowed Wright to reconnect with audiences who remember her earlier work while introducing her to viewers who know her largely through her reputation.
For Wright, the lesson from her decades in the industry appears straightforward: talent needs to be matched by commitment.
Her remarks serve as a reminder that behind the glamour of premieres, cameras and celebrity appearances, filmmaking remains a collaborative business where one person’s lateness can affect an entire production.
As Nollywood continues to evolve, Wright’s call for punctuality and discipline reflects an old industry value that she believes should not be lost amid the changes.
