Ghanaian filmmaker Leila Djansi has reflected on her journey as a script doctor, stating that personal challenges have strengthened her craft and shaped her approach to storytelling.
In a Facebook post sighted by The Independent Ghana, she disclosed that her work in the film industry over the past three years has focused largely on script doctoring, which involves reading, editing, rewriting and producing speculative drafts for filmmakers. She noted that the process demands consistency and emotional stamina.
“And when you remove your ego, apathy, and worry from the work, the characters begin to speak.”
“When you allow yourself to grow through pain and discipline instead of collapsing under it, your craft becomes sharper and your voice becomes clearer.”
Leila explained that navigating difficult personal moments while working on multiple scripts has not been easy. However, she described the period as the most rewarding phase of her career, stressing that growth often emerges from uncomfortable seasons.
According to her, the experience has taught her humility and discipline, especially in an industry where it is easy to critique other people’s work without acknowledging one’s own limitations. She added that the challenges she encountered have sharpened her writing skills and deepened her understanding of character development.
Leila encouraged creatives to embrace the refining process that comes with their craft, saying it ultimately produces better work and richer stories.
A couple of months ago, the award-winning filmmaker stressed that filmmakers cannot thrive as both filmmakers and film distributors.
She encouraged filmmakers to tell employ the services of professional distributors and include the as part of their entire project.
“In Ghana, filmmakers are forced to play both creator and distributor.That’s unsustainable. Your job is to make the film. Get someone else to sell it. Collaborate. Build distribution networks across West Africa, into the diaspora, and then let streamers become an option, not a lifeline,” she said in a post sighted by MyNewsGh.
Djansi explained that from the script stage, filmmakers must think about their marketing and distribution strategy, ie, Cinema → TV → SVOD → AVOD/FAST, which ensures the film earns over the years, not just once.”
The renowned Ghanaian filmmaker sparked debate among industry players, questioning whether they will continue making excuses for the state of Ghana’s film industry or take action to improve it.
“Good and bad can coexist in anything. But at what point do we stop excusing the bad and start fixing it?” she asked in a Facebook post, calling for a shift from complacency to progress.
Djansi criticized the industry’s reluctance to embrace constructive criticism, urging filmmakers to compare their work with productions from other African countries such as Nigeria, Zambia, Kenya, and South Africa.
“Take two of your most recent critically acclaimed films from the previous three years and compare them to two from Nigeria, Zambia, Kenya, and South Africa. Look at them side by side and ask yourself if we are actually gaining any momentum,” she challenged.
She lamented that since Azali’s Oscar submission in 2018, Ghana’s subsequent entries have not been up to standard.
“In 2018, we got Azali for the Oscars, and since then, every single submission has been a joke. A literal joke. Some of the films would convince you to burn your Ghana card,” she stated.
Djansi stressed that the problem is not a lack of talent but an unwillingness to elevate the industry through hard work and innovation.
Sharing a personal experience, she recalled how a Creative Artists Agency (CAA) agent once critiqued her storytelling approach. Instead of dismissing the feedback, she took it as an opportunity to grow.
“What he actually said to me was, ‘Go take risks with your storytelling.’ I grew up,” she revealed.
She urged filmmakers to stop dismissing criticism as hate or jealousy and instead use it as a tool for improvement.
“Stop enduring mediocrity, please. Instead of these knee-jerk reactions, instead of acting like people just want to hate, forget the who and the how and actually listen. Sit with the criticism. Use it to rise,” Djansi advised.
With her bold remarks, Djansi hopes to ignite a mindset shift in the Ghanaian film industry, pushing creatives to move beyond excuses and take the necessary steps to compete on the global stage.
On a seperate matter, Leila asserted that YouTube will soon become a thing of the past due to saturation by filmmakers.
She further argued that a government-backed film fund would be wasted if movies are only released on YouTube.
She added that piracy also undermines the platform’s viability for film distribution.
“Personally, I don’t believe the film fund. I really don’t. I think it is premature because there is no distribution. If you give the film fund how are they gonna [make profit].”
People think that we are just gonna put it on YouTube. I’m sorry YouTube is gonna collapse very soon. There is so much congestion on YouTube and they are always changing their policies. So if you go in now a I think it is seriously over-saturated. If you over-saturate it, they’re gonna reduce the earning. So how much are you gonna earn if you just put your film on YouTube,” she said.
Meanwhile, James Gardiner, a leading Ghanaian actor, recently discussed the crucial role social media, particularly YouTube, plays in boosting the Ghanaian film industry.
In an interview with media figure Doreen Avio, the star of ‘Taste of Sin’ pointed out that many are not fully harnessing the potential of these digital platforms.
Gardiner emphasized that YouTube remains underutilized, despite its potential for significant impact.
He noted that individual productions can amass millions of views, potentially translating into considerable earnings.
“YouTube is a goldmine that’s being overlooked. The fact that just one of our productions can hit around 29 million views indicates that African films are resonating widely,” he said.
While acknowledging the importance of major streaming services like Netflix, Gardiner stressed the value of concentrating efforts on YouTube.
He shared insights from his recent experiences in Nigeria, highlighting how Nigerian TV stations swiftly adopt and popularize films from YouTube, further amplifying their reach.
“Work is thriving in Nigeria, and it’s not just Ghanaian audiences that are engaged. In fact, Nigerian platforms quickly pick up new releases from YouTube, often within 20 to 30 minutes, which boosts viewership numbers,” Gardiner observed.
Despite the hurdles the Ghanaian film industry faces, Gardiner remains hopeful about its future.
He believes that with a positive outlook and persistent effort, the industry is poised for continued growth and success.
Popular Nollywood actress Ruth Kadiri recently shared her insights on why she chose YouTube as the platform to showcase her movies.
In an interview with BBC Pidgin, she highlighted YouTube’s significance as a major income source for independent filmmakers and content creators, emphasizing its pivotal role in sustaining livelihoods within the industry.
Kadiri emphasized that YouTube has become indispensable, stating that without it, many individuals, not just filmmakers, would face financial hardships. She underscored the platform’s contribution to feeding people by providing opportunities for filmmakers to monetize their content effectively.
Reflecting on her journey into YouTube, Kadiri revealed her frustration with the constraints of traditional production processes, which motivated her to seek a space where she could freely express her creativity. She discussed her desire to explore and implement innovative ideas without excessive regulations, noting that YouTube offered the flexibility she craved.
Despite encountering skepticism and discouragement from others, Kadiri viewed YouTube as a platform for reaching a broader audience and honing her skills. Her decision to venture into YouTube was fueled by a passion for storytelling and a determination to overcome challenges, even if it meant learning from initial setbacks.
Kadiri’s experience on YouTube has been marked by the production of several films, each contributing to her growth as a filmmaker and entrepreneur. Her journey exemplifies the evolving landscape of film distribution and the opportunities that digital platforms like YouTube offer to aspiring creators.
The surge and mass production of AI-generated content on YouTube has prompted the video-sharing platform to announce a review and update of its monetisation policy under the YouTube Partner Program (YPP).
The YouTube Partner Program is how creators earn money from their content.
In a formal statement shared on July 7 on YouTube’s Support page- a platform where the company shares updates and announcements- it spelt out modifications concerning content and its monetisation policy.
“We’re updating our guidelines to better identify mass-produced and repetitive content. This update better reflects what inauthentic content looks like today,” parts of the statement read.
According to the statement, effective July 15, content would now be subjected to strict scrutiny, and those found as repetitive with no intention to educate or entertain would be demonetised.
“On July 15, 2025, we’re updating our guidelines to better identify mass-produced and repetitive content. This update better reflects what inauthentic content looks like today”, it continued.
Also, content that has been created with heavy use of AI with little to no human effort would be demonetised.
“AI-assisted content is acceptable, but only if it includes considerable human input. Content created with little to no human effort may not be eligible for monetisation.”
