Behind Nollywood films’ award-winning actors and suspenseful plots is a less visible but equally vital army of labour: the background extras, or “waka pass”, as they are more popularly referred to locally. They populate the bustling markets, raucous parties, and everyday street scenes, giving Nigeria’s filmic landscapes their lifelike quality. Although typically in the background, they are at the centre of Nollywood films’ immersive quality, providing the necessary background against which the foreground action unfolds.

Over time, as the Nigerian film industry became an international phenomenon, a defacto though obvious stratification began to develop within this cast of actors—one that continues to shape access, exposure, and professional possibility for these largely faceless actors.

The story of Nollywood’s background actors began with the industry’s inception in the early 1990s. This was when there was a huge shift from expensive celluloid film production to less expensive video technology, largely through VHS camcorders. The economic woes of Nigeria in the 1980s had made celluloid production increasingly tricky, making way for the development of a cheaper and more accessible medium. This transition democratised filmmaking, allowing the creative surge that defined Nollywood’s first decade.

Groundbreaking films of the era, such as Living in Bondage (1992) and Glamour Girls (1994), exploited the use of background actors to establish a sense of realism for Nigerian existence, populating marketplaces, parties, and residential areas to forge a visual text with which Nigerian audiences could engage. The necessity to rapidly and economically produce very similar Nigerian settings in these early productions meant that filmmakers frequently employed readily available individuals in the vicinity of shooting locations as extras. While applicable to its immediate purpose, such a practical shortcut must have established an informal network of engaging and compensating these background performers. It set the stage for the unwritten hierarchy that would emerge.

Even in these initial stages, background performers were important in placing the stories in familiar Nigerian settings. Films like ‘Living in Bondage’ and ‘Glamour Girls’ created benchmarks on how extras would visually embody the liveliness of Nigerian life. The utilisation of “found locations” for filming and the incorporation of locals as extras in these movies suggest that casting was often an ad-hoc process, potentially involving individuals who were present at the shooting location. This informal recruitment mode was probably accountable for the lack of codified and fluid roles and compensation for background actors in the early years.

The background actor situation in Nollywood is currently more organised, albeit still informal. There has been a hierarchy, and individuals have fit into various levels based on their visibility and the experience they have gained. At the lower rung are the “day players,” who land occasional roles in one-off productions. Further up are the “regular extras,” who turn into familiar faces in multiple productions, including popular shows such as ‘Skinny Girl in Transit’ or films such as ‘Chief Daddy (2018)’. At the pinnacle of this unofficial hierarchy are those who are dubbed in the industry as “background celebrities” — extras who have gained substantial recognition and even fans despite rarely, if ever, being assigned dialogue.

The fact that there are these different strata points to a type of specialisation and prestige within the background acting community. Consistent availability and the ability to convincingly portray background roles are likely variables that cause an extra to move up these informal ranks toward more opportunity and a higher rank within this informal hierarchy.

Several factors explain this emergent hierarchy. Experience also plays a part, with newcomers being put in large crowd scenes, while more seasoned extras will appear nearer to the leading actors or in the foreground of a shot. Specialisation also comes into play; individuals who build a reputation for convincingly portraying a particular type of role, such as market stall holders or office workers, make themselves invaluable to casting directors. Industry longevity also raises an extra’s status, with those having worked on dozens of productions from the early days of video to the latest streaming projects achieving an almost legendary status within industry ranks. On top of this, the increasing influence of social media has added another stratum to this hierarchy.

Some extras have been able to build personal brands on platforms like Instagram and TikTok. This internet visibility can translate into greater demand for their services and perhaps a higher position in the unofficial pecking order. The phenomenon of “background celebrities” is one of the most unique aspects of Nollywood. Although they do not have any dialogue, these actors have gained some degree of popularity and fame within the industry and among viewers. This can be attributed to the close-knit structure of Nollywood and its dedicated fan base, in which frequent appearances and recognisable faces, even in silent roles, can lead to a measure of fame within the Nigerian movie industry.

Far from being space fillers, Nollywood background actors perform significant roles and functions that are worthwhile contributions to the completed work. Their primary function is to provide realism and dimension to scenes by portraying ordinary people going about everyday life. This can range from filling in big crowd scenes, such as concerts or markets, to being featured extras that perform small actions that bring realism to the scene. Examples include a featured extra handing over a drink in a bar scene or walking through a market carrying fruit. Some background actors are also employed as stand-ins or body doubles for lead actors.

The fundamental task of all extras is to take direction carefully from the production staff, like assistant directors, to perform every scene without a hitch. Further, individuals with special abilities, such as dancing, musicians, or expertise in specific professions, are generally in demand for shooting scenes requiring those individual skills.

Payment for Nollywood extras has improved somewhat. In the earlier days of the industry, payment was occasionally shorter than lunch money. However, with the increasing professionalisation of Nollywood, particularly in big-budget productions like ‘King of Boys (2018)’ or ‘The Milkmaid (2020)’, background actors can get regularised payment, albeit it is generally still on the low end. Despite this development, payment remains irregular, especially for those new to the industry.

There is anecdotal proof of some actors being paid as little as ₦90,000 for a month’s work on set. More established actors getting speaking roles are paid far more, but the lack of standardised rates for extras leaves many vulnerable to underpayment and financial insecurity. Working conditions for Nollywood extras are usually challenging. Extras often work long hours, spending many hours on set, sometimes from dawn to early morning.

The second most crucial issue is the lack of formal credits in the final film production, which limits their professional exposure and ability to build a portfolio. There is also tough competition for parts, with many individuals vying for limited positions.

In addition to these problems, extras may face other issues, such as unpredictable on-set treatment, potential lack of production organisation, and infrastructural issues, such as power outages that may disrupt shooting schedules. These rigorous and somewhat insecure working conditions indicate improved treatment and greater formalisation of background actors’ roles in Nollywood.

Nollywood directors and producers mostly appreciate the immense value of background actors in making their films successful. Properly directed supporting actors are seen as valuable in contributing to a project’soverall production value and verisimilitude, like Kunle Afolayan’s strategic use of extras in the period film ‘October 1 (2014)’ for historical authenticity.

Similarly, in movies where a specific social class is portrayed, such as ‘The Bling Lagosians (2019)’, extras are employed to maintain the desired ambience, such as the decadent high-society lifestyle. Lastly, background actors that are strategically positioned are said to add production value as they breathe life into believable and compelling worlds that audiences buy into. Some directors go so far as to hire extras directly from moving crowds, highlighting their immediate utility in adding realism to the scene.

Casting and directing of extras in Nollywood is normally carried out by casting directors who have the duty of looking for individuals who fall under the unique requirements of a scene. Physical appearance, age, sex, and having a particular “look” are often vital considerations in being selected.

On set, while the director may have the overall idea of how extras are to be utilised in a scene, the coordination and direction of such actors tend to be left to assistant directors. This suggests a hierarchical framework whereby the director’s interaction with extras can be minimal, with the AD team managing the logistics of their involvement in each shot. The increasing professionalisation of Nollywood, particularly since the 2000s, has changed how background actors are recruited. Films like ‘Lionheart (2018)’, ‘The Wedding Party (2016)’ and ‘The Meeting (2012)’ demonstrated the difference that good incorporation of background actors could make in production quality.

There is a growing trend for maintaining lists of reliable background actors, changing from the former method of simply using whoever was available. This is also partly driven by the rise of streaming services, which have increased demand for higher production values and, by extension, expectations of background performances.

Background actors in Nollywood are also increasingly exposed to international audiences through these streaming services. The increased production level for streaming services can provide additional work for background actors. But with that also comes the pressure of meeting the greater expectations of an international market.

As Nollywood continues taking over the world, the traditional “waka pass” system faces new pressures and opportunities. The growth of the industry and the streaming boom have generated discussion of officially recognising and regulating the background actors’ profession, a far cry from the early days’ unofficial practices when a meal voucher was possibly the only thing one could receive.

The Actors Guild of Nigeria (AGN), a guild body for screen actors, exists to promote actors’ welfare, although its specific efforts with regard to background actors require examination. There is growing advocacy within the industry for good contracts and fair treatment for all creatives, including background actors. Yet the lack of a robust industry. structure remains one of the main hindrances to formalising these roles and according to fair treatment and compensation regularly.

Underpayment and the lack of standard payment practices also remain hindrances to progress in this direction. Comparing the plight of background actors in Nollywood to how such actors are treated in other large film industries like Hollywood and Bollywood reveals similarities and some pronounced differences. Where compensation and payment are concerned, Nollywood extras earn lower and less secure incomes than those in

Hollywood, especially those covered by unions like SAG-AFTRA. Non-union rates exist in Hollywood and can vary, but the union provides a level of protection and regulation that is less visible for Nollywood extras. Bollywood, just like Nollywood, also appears to have a system where extras can be extremely underpaid. Unionisation and recognition also differ very much. Hollywood has the luxury of having strong unions like SAG-AFTRA that offer standards for pay, working conditions, and even the possibility of obtaining credits for background actors.

While Nollywood has the Actors Guild of Nigeria (AGN), its specialised role of agitating for background actors is not plainly outlined in the materials. Ordinarily, extras in Nollywood are not credited for the work, in contrast to Hollywood, where featured extras can be credited. In Bollywood, as in Nollywood, extras are ordinarily uncredited and considered less significant to the production.

Treatment of extras on set is variable across all three industries. While some individuals report positive experiences, others have experienced poor treatment and long hours. The stronger union protections in Hollywood are perhaps a more effective mechanism for guaranteeing fair treatment for unionised extras than in Nollywood and Bollywood, where these protections appear weaker for background actors.

Background actors are a very important aspect of Nollywood and critical to the industry’s narrative and visual credibility. Although there is an unofficial ranking of these “waka pass” actors, their working conditions and payment also remain insecure.

The evolution of Nollywood, particularly the rise of streaming platforms, holds out the promise of more jobs and pressures for the improvement of standards of performance. There is a growing recognition of the need to tackle the fate of these unseen workers, with arguments continuing to formalise their labour and treatment. Comparisons to more established film industries like Hollywood highlight the benefits of unionisation and standard practices in achieving equal pay and recognition for background actors.

As Nollywood continues its global ascent, it is worth looking beyond the celebrities and acknowledging the vital contributions of market traders, party attendants, and office receptionists – the living canvas of “waka pass” actors who help bring to life the rich and peculiar world of Nigerian cinema. Perhaps it is time, after all, for their backstory to be given due regard in the larger narrative of Nollywood’s success.