An Interview With Ugandan Netflix Actress OYENBOT

Gladys Oyenbot, mononymously known as  OYENBOT is a multifaceted Ugandan artist. She is a theater and film actress, producer and singer who has starred in award winning films and shows like Mpeke Town, Kyenvu, Queen of Katwe, Yat Madit, and most recently the groundbreaking ‘The Girl In The Yellow Jumper’ by Loukman Ali. The film made history after landing a streaming deal with Netflix, making it the first Ugandan film to achieve this milestone.

We caught up with OYENBOT for this interview where she dishes about the film industry, wellness, Netflix, among other things.

Quite a lot has happened since we last met. What’s up OYENBOT? 

Nothing much right now. I am just trying to relax and detox from most of the characters. I had a project two months ago and it’s showing on Urban TV, Bukedde TV, and Luo TV. It’s more about farming and agriculture. So imagine shooting 18 episodes, both Luganda and English in two months, back to back.

What is the name of the project?

Mpeke Town.

How does it feel being a part of a TV project like Mpeke Town that not only entertains but also gets to educate people?

It’s a great feeling because you know at least someone is learning something, especially in this world that is evolving so fast. I will give you an example; back then, some of us used to get advice or education from particular people back then. But now information is easily accessible, at least it’s everywhere, like on drama and TV.

How are you detoxing?

Currently, I’m off watching series or movies. I am not working on any script or monologues. I am exercising and it helps me mentally to think about other stuff. I am also going out a lot with friends I don’t get time to do so when I am working. Hanging out with them takes my mind off work because we talk about other things that are not related to my career. As an actress, I love meeting people because I get to observe them, and their characters and sometimes I’m like haaaa, this is a very good character so I pick something off that person (laughs) and keep it somewhere in my mind. When I get a script and I need to come up with a character bible, I put together what I have picked from different people. 

So do you get to credit them? (Laughs).

Not really. I credit friends in general through appreciation messages, because you don’t want to tell someone that by the way, this was you (laughs).

Why is it important as an artists to detox after a project?

Most times we tend to run away as artists, from the fact that we get tired. But it’s good to accept say yes I am tired and take time off because it helps you detach yourself from your previous character and project so, by the time you get into another project, you don’t bring back that previous character into this new project. 

Congratulations to you and the ‘The Girl in Yellow Jumper’ cast and crew for landing on Netflix. 

Thank you. I knew it was going to be a great film but I didn’t think it would make history like this. You know, initially, I was not part of the film. Other actors and actresses had already been recruited and a teaser had already been shot. So when Loukman approached me and he was like I would like you to be a part of ‘The Girl In The Yellow Jumper’, I didn’t hesitate. What made me get on board was when I watched the teaser. That was it for me. I was like this is going to be a great project.

Who was your character in the film?

My character is called Victoria. I was a sister to a nurse who asked me to help investigate, the rampant teenage pregnancy in the town. So, I was a supporting character to her.

What do you attribute the success of the film to?

First of all, I want to thank Loukman Ali for having such a brilliant mind and creating a piece like that because he wrote it, directed and produced it. I would also like to thank the executive producer, Morrocco Omari who was one of the people that had to put together resources to have the movie shot. So I attribute its success to a dedicated, brilliant team and a talented cast. 

What do you think this milestone means for other filmmakers?

It means we need to start tying up the loose ends in the movie industry. Because now this has opened a huge door. Now all eyes are set on East Africans because it’s not the only film that was selected in the region. There’s another that was selected in Tanzania. I think Netflix distributors are scouting. So now this means that we need to be professional with what we do and be intentional in making films because this has set a standard. So whether you’re a filmmaker, an actor, or a producer, we just need to bring on our A-game because now the world is watching and the opportunity is there.

Any projects in the pipeline, that we should look forward to? 

There’s nothing at the moment but the one thing I am certain about is I just want to be ready for anything. I’ll be resuming rehearsing soon. I’ve rested enough. I need to be ready so that in case anyone approaches me for a project, I’m good to go. 

I am working on setting up my production company, OYENBOT entertainment and hoping to start filming our first production next year. The company will also offer mentorship to young talents interested in filmmaking. We shall conduct classes, where we meet, have tea and talk. 

What advice do you have for other young girls especially those aspiring to get into the film industry?

I would advise them to do enough research about the film industry and reach out to the key players for advice. They will find that there’s so much that we have, that we can give them. Advise them on what to do, what not to do, where to go, and where not to go because a lot happens in this industry like sexual harassment. Also, I would advise them to develop tough skin and have a side business. Financially, it’s not where you would want to be. Yes, there’s money but it’s not quick money. It’s quite amazing to see brilliant talents come up. But talent is never enough in this industry. They need to exercise discipline and keep crafting what they already have and make it better.

What opportunities lie for women out there in our film industry, and how can they harness those opportunities?

They are quite many. They can be directors, we have a few female directors like Aganza Kisaka. They can be producers, directors of photography, production managers, video editors, and sound engineers. We only have two female sound engineers in this industry Rebecca Amulen is amazing. I like seeing female sound engineers on set. So they can be very many things.

How can they harness those opportunities?

Different people in the industry keep holding workshops, for example, Shakira Kibirige and Esther Nakaziba, who do Costumes, hair and makeup. I have seen them take on and train a lot of people. So you just have to know where your interests lie, do a lot of research, find out the people doing what you would love to do, approach them and tell them what you need. I guarantee you will be helped. 

What does the future hold for you?

I hope to work on big shows alongside the people that I have been looking up to. People like Cate Blanchett. Viola Davis, Gabriel union and Sophie Okonedo. I admire them a lot and pray for a chance to work with them. But at the moment, I am looking for a great talent agency. I believe having one will push me a lot.  

What would you like to be remembered for?

(Laughs). I’ve even never thought about that. What would I like to be remembered for? I think I would love to be remembered as a passionate actor who went after what she believed in. So, passionate and a go-getter.