I’m not the angry man people think I am – Segun Arinze - Punch Newspapers

Veteran actor, Segun Arinze, speaks to NAOMI CHIMA about movies, music and other aspects of his career As a prolific voice-over artist, what is your daily routine for maintaining your vocal health and range? My voice is my instrument, so I treat it with the same seriousness a musician treats a prized instrument. I start my day with hydration, breathing exercises, vocal warm-ups and articulation drills. I also work on resonance and pitch because voice-over isn’t simply about having a good voice; it is about having control, texture, emotion and versatility. One habit that may surprise people is that I practise silence. I don’t believe you have to be talking all the time to be a great voice artist. Sometimes, resting the voice and listening are just as important as exercising it. I also study voices: how people speak, breathe, pause and communicate emotion. Every voice tells a story. You became established for playing Black Arrow in the movie, ‘Silent Night’. How hard did you have to fight against being typecast as a villain after that massive success? Very hard! Silent Night and Black Arrow changed the trajectory of my career, but success can sometimes become a cage if you allow people to define you by one character. I deliberately sought out different roles. I wanted people to understand that Black Arrow was a character I played exceptionally well; he was not Segun Arinze. I played heroes, villains, fathers, lovers, professionals and complex characters. I also went into producing, directing, presenting and voice-over. In fact, being typecast taught me something important: an actor must never stop reinventing himself. If you don’t challenge the industry’s perception of you, it will happily keep you in the same box. Black Arrow may be legendary, but Segun Arinze is still writing the next chapter. You have worked both in front of and behind the camera. How does your experience as a director change how you take direction as an actor? Being a director has made me a better actor because I understand what the director is trying to achieve. When I’m acting, I don’t just think about my character; I understand the scene, the camera, the rhythm and the larger story. What’s the biggest mistake you see directors making when handling veteran actors? As for veteran actors, the biggest mistake is assuming that experience means stubbornness, or that age means an actor has nothing new to learn. That’s wrong. A veteran actor should be respected, but respect doesn’t mean you cannot direct them. Give them the creative reason behind what you’re asking for. Talk to them. Don’t shout at them. Don’t try to intimidate them. Great actors respond to good direction. And I’ll add this: veterans must also remain teachable. Experience should give you humility, not entitlement. If a young, aspiring actor came to you today and asked you for the single most important rule to ace a Nollywood audition, what would you tell them? Know your character and come prepared. Don’t walk into an audition trying to impress everybody with your personality. They are looking for an actor who can serve the character and the story. Read the material, understand the character, know your lines, and listen to the director. And when you make a mistake, don’t collapse. Keep going. An audition is not an examination you are trying to pass; it is an opportunity to show them what you can bring to the role. Is there a specific historical figure or a type of character you have not played yet but are desperate to portray? I have played many intense and memorable characters, but I would love to portray a deeply complex historical African figure, particularly somebody whose life carries contradictions, power, vulnerability, brilliance, failure, sacrifice and redemption. I am attracted to characters that challenge me psychologically. I don’t want to play another character simply because he looks impressive on screen. I want a role that stays with the audience long after the film ends.See more Punch stories on Google.Add Punch on Google And, honestly, I would love to do more historical African stories at the highest international standard. You have witnessed Nollywood grow from VHS tapes to global streaming platforms like Netflix. What is one thing modern Nollywood has gained, and one irreplaceable thing it has lost? We have gained global access. A Nigerian story can now travel from Lagos to London, Los Angeles, Johannesburg or Tokyo almost instantly. The technology, production values and opportunities have improved tremendously. But I think we’ve lost some of the rawness and innocence of storytelling. During the VHS era, we didn’t have all the technology we have today, but we were hungry. We had stories, characters, and people who were willing to take risks because they believed in the story. Today, sometimes the pressure to make something “streamable” or commercially attractive can overshadow the simple question: Is this a great story? What is the biggest cultural shift you have noticed on modern film sets compared to when you started? The relationship between technology and filmmaking has completely changed. When I started, filmmaking was much more physically demanding. You had fewer resources, fewer cameras and fewer opportunities to fix things later. Everybody had to be prepared. Today, technology has made production faster and more sophisticated. But it has also changed the culture. There is more social media awareness, more emphasis on personal branding and, sometimes, less patience. One thing I miss is that old-school sense of collective ownership. We felt we were building an industry together. How do you view the acting style of the newer generation of Nollywood actors compared to the rigorous training of your generation? I don’t believe in dismissing a generation simply because it is different from mine. There are incredibly talented young actors today. Some are naturally gifted, some are properly trained, and some are doing both. But, I will always advocate for training because talent without discipline can take you only so far. Our generation had to learn the craft vis-à-vis voice, diction, movement, stage discipline, characterisation and improvisation. Today, young actors have access to information that we could only dream of. So, my message to the younger generation is simple: use the advantages you have, but don’t abandon the discipline that built the profession. Do you feel Nollywood is doing enough to document and preserve the history of its pioneers? ICYMI: Nkechi Blessing, others mourn as Nollywood actor Cjay Nwokafor dies Walking now difficult for me, says Pete Edochie ‘Olu Jacobs trained me’, Sola Sobowale honours late veteran actor No, I don’t think we’re doing enough. There is a danger that we will wake up one day and discover that we have lost important people, stories, photographs, scripts, recordings and memories without properly preserving them. We need a serious Nollywood archive, a properly funded institution that documents the pioneers, films, posters, scripts, interviews and oral histories of our industry. We cannot keep saying we are a global film industry while allowing our own history to disappear. The pioneers are not merely old actors, they are the living library of Nollywood. During your time as President of the Actors Guild of Nigeria, you faced intense industry politics. What was your toughest executive decision, and do you feel the guild is on the right track today? Leadership in our industry has never been easy. My toughest decisions were the ones where I had to choose between personal relationships and what I believed was best for the larger membership. As president, my responsibility was not to please everybody. It was to fight for the welfare, dignity and professional growth of actors. I remain passionate about the Actors Guild because I have been there. I believe the guild must continually evolve, become more professional, transparent and responsive to the changing realities of actors. The industry has changed dramatically, so our institutions must change with it. The guild must always put the actor at the centre of its existence. Entertainment today relies heavily on social media numbers and influence. How do you think this shift affects the raw craft of acting compared to when you started? Social media is a fantastic tool, but it can also create an illusion. Followers are not talent, likes are not acting ability, and going viral is not the same thing as delivering a memorable performance. When I started, your work had to speak for you. You couldn’t post yourself into being a great actor. You had to stand in front of a camera or an audience and deliver. I don’t condemn social media, because I use it too. But, let the numbers support your career, not become your career. Having spent decades in the public eye, what is the most misunderstood thing about Segun Arinze? People often mistake intensity for anger. I am passionate, direct and can be very vocal when I believe something is wrong. But, that doesn’t mean I’m walking around angry at the world. There is a difference between Segun Arinze, the public personality; and Segun Arinze, the man. When I leave the public space, I value my privacy. Family, quiet moments, reflection and the simple things of life help me reconnect with myself. The industry can be noisy, and if you allow the noise into every corner of your life, you will lose yourself. The brand is what people see, while the man is who I go home to. What role has marriage and fatherhood played in grounding you through the highs and lows of this industry? My family has been my anchor. This industry can give you applause today and silence tomorrow. It can make you feel like a king one day and humble you the next. Family reminds you that you are more than your last performance, your last award or your last headline. Fatherhood has also taught me responsibility. When you have children looking up to you, you realise that your life is not just about what you achieve professionally; it is also about the values you leave behind. Have any of your children shown interest in acting, directing or voice-over, and would you encourage them to take that path? My children are individuals, and I try not to impose my career on them. Some of them have shown interest in the creative space, but I believe every child should be allowed to discover their own path. If any of them chooses acting, directing or voice-over, I will support them, but I will also insist that they understand that this is a profession, not just glamour. Being my child may open a door, but talent, discipline and hard work must keep you in the room. What do you do to ease stress and recharge? I recharge by stepping away from the noise. I spend time with family, listen to music, reflect and sometimes, simply enjoy being away from the cameras and microphones. What is the one artistic project or dream you haven’t fulfilled yet that keeps you motivated today? Looking ahead, I want to create work that brings together acting, storytelling, voice, television and mentorship. I am particularly passionate about creating platforms that give young creative talents access to knowledge and opportunity. I don’t want my legacy to be simply that I was a successful actor. I want people to say, “He opened doors for other people.” That’s what keeps me going. Early in your career, you released a music album. Do you ever look back at your music days as a missed opportunity, or was it just a stepping stone to acting? I don’t look at it as a missed opportunity at all. Music was part of who I was and still is. The album, ‘Dreams’ was an expression of a young man who had dreams and wanted to communicate them through music. Life eventually took me more deeply into acting, and then voice-over, television, production and other areas of the creative industry. But, I don’t believe those experiences were disconnected. Everything I’ve done has fed the artist I am today. And who knows? I haven’t necessarily closed the chapter on music. Perhaps, there are still a few songs waiting for me somewhere. After all, I still have some dreams! Naomi Chima Naomi Chima is an entertainment and lifestyle correspondent at Punch Newspapers with over three years of experience. She covers Nigerian entertainment, culture, and social events, conducts personality interviews, and contributes to features across desks. Her work demonstrates hands-on newsroom experience, editorial judgment, and a commitment to engaging, accurate, and audience-focused journalism.

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