Motunrayo Soya is a filmmaker and producer who approaches storytelling with curiosity and openness. Originally trained as an architect, she now brings her creative vision to film, shaped by a dynamic upbringing between Nigeria and the UK. In this conversation, she reflects on her journey, the influence of family, and the creative passions that have defined her path.

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Please, introduce yourself, who is Motun Soya?

Motunrayo is a 28 year old child at heart. I’m a qualified architect, but producer and filmmaker in my day to day. But at my core I am an individual who just strives to enjoy the innocence of life daily through everything and everyone around me.

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How are you doing Motun? What emotions are you currently feeling?

I’m cool. Sometimes I’m lost. Does anyone know what to do? I feel quite numb and disorientated. So I’d say there’s a bit of confusion here and there. But on the flipside I’m confident and know there is a lot to be grateful for which I always remain calm about. I’m content with what’s around me & I’ve got no points to prove.

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Do you have any tattoos? If yes, where, and what do they mean to you?

Nope, I’m a piercing girl.

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What are you listening to at the moment? Anything new, old, or exciting?

Odeal’s ‘Lustropolis’. He’s done so well, hats off to him. And Doechii of course. That’s my girl.

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Let’s talk about your background for a bit. Where did you grow up and what was your childhood like?

I was born and raised in Nigeria, although at some point my mum, brother, and I moved to the UK for a while, but before long, I was sent back to attend school in Lagos. My childhood was deeply rooted in family and friends back home. It was a time of discovering my desires and creativity while also building resilience— experiences that have shaped my character today. A lot of time spent was with my family & childhood friends, who remain my closest people to this day. There’s no such thing as ‘growing apart’ when it comes to them. I think it’s because our parents and their parents also grew up together, you can say the ties have been passed down from generation to generation. 

For me personally, growing up in Nigeria toughened me up. Maybe not so much primary but secondary school wasn’t for the faint-hearted, but I still enjoyed every part of it. It was also a creative time for me. I did everything—from playing the piano and guitar until I was 11 (something I wish I had continued) to being able to express myself through performing arts and LAMDA classes in the UK.

Looking back, there’s nothing I would change about how I grew up. There were parts of it I didn’t enjoy, like being away from my dad for instance but I’m grateful for every sacrifice made in my childhood that I am now aware of today. 

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Were there any particular experiences or people that shaped your creative path?

When it comes to experiences, It’s hard to pinpoint just one thing, it's always been the most random encounters. Most of the time it’s something small, like a conversation that sparks an idea or pushes me to think differently. It’s not always this big, life-changing event—just little bits of inspiration here and there that add up. For me anyway. 

As for people? Nah.

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What is your earliest memory of you being creative? and how did it make you feel?

I remember coming up with a board game using pieces of scrap paper, playdoh, and anything I could find around the house. I will sit with whoever at the time and make them join in as I make the rules as we play. Come to think of it, I once had my Grandpa playing with me (he clearly had a lot of patience). But it wasn’t just about playing I guess it was about creating and crafting whole worlds and systems that made sense in my mind at the time. It was fun, but also chaotic. I loved it though.

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How has your Nigerian heritage influenced your work as a producer?

That’s a big question, I think its played a huge part in my attitude and cadence. I’m not only Nigerian, but I am a woman in a male dominated field. As annoying as it gets, you have to be tough to be taken seriously at times. Just having that Nigerian in me has pushed that strong headed nature onto myself and as a matter of fact has instilled confidence in my craft and what I can bring with me. Through that I remind myself that there is nothing or no one worth losing your soul over. If you’re there you’re there and if you aint you aint.

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How did you come up with the nickname "24"? What does it symbolize for you?

24 is a personal story and reminder from God of who he has made me to be. Turning 24 was a major turning point for me—it was when I really started to understand God and myself. At a time when I wasn’t sure if I should fully pursue my career, I rolled a pair of dice, asking God for the numbers ‘2’ and ‘4,’ low and behold…

So from there I faced this career wholeheartedly. Since then, 24 has been a representation of my faith, confidence, and a reminder to just keep trusting in the journey, no matter the uncertainties. (I’m also born on the 24th. It was only right).

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How do you approach visual storytelling in your work?

It’s case by case, but generally I always go with “showing not telling.” & by this I don’t always mean you have to create a narrative that is explained frame by frame. A good way to explain this is with music videos; For example, I genuinely think YG’s How To Rob A Rapper Music Video is one of my favourites. Controversial, I know. However, it's a minimalistic one shot black and white video with all of the featuring artists solely in performance, and this diverts the viewers attention to the purpose of the song: the precision and clear cut instructions in the lyrics. On the surface you’d wonder ‘why would he make such a song?’ and if you’re curious you’d go find out. For context, in his first album he goes in with the same approach on ‘Meet the Flockers’ - i.e telling us how to burglarize a house, which was a big part of his youth and come up. In HTRAR he’s addressing the ongoing situation of an increasing crime rate in Los Angeles and ultimately Hip Hop Culture that us listeners see or hear of frequently. At the same time, the underbelly of the song is how not to get robbed. It's a cautionary tale for rappers, artists, maybe even civilians. So when it comes to visual storytelling for me, its not always as straight forward. You want to create something with layers, something that allows viewers to delve deeper and leave them in thought. Another example is Fredo’s Money Talks Feat. Dave directed by Edem Wornoo. Essentially the visual shows our relationship with money as humans and the ways in which it reveals us - what I love is whilst the footage is shot in reverse, Fredo and Dave are singled out in chronological order in performances that defy logic. As successful artists the visual tells us about them knowing they have a fundamental understanding that money cannot buy happiness. It's a clever visual technique but is also a drama following the journey of a £50 note through various hands and there is an unveil of unsavoury human behaviour that revolves around the journey of this banknote. Upon watching you realise that the end of the video is really the beginning and vice versa and on both ends the money starts and ends with the artist. Going back to what I said about your audiences delving deeper, my belief in what they are trying to show us is that money is everything and nothing at the same time watching the money go full circle in a visual format. 

I always use examples to explain what I mean, so hopefully that makes sense? But I guess without watching the videos it would be hard to understand - to cut a long story short, keep your message clear and concise, craft something compelling and experiment.

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How do you balance artistic vision with commercial considerations in your work?

Yeah.. so this probably has to be the worst part. You’ve got two people to keep happy here; The Client and The Audience, and 9 times outta 10 that doesn’t come easy. However, in my experience it all boils down to collaboration and openness. You have to be assertive but at the same time you’re constrained to guidelines and commercial assets. It takes a lot of convincing at times, but staying aware that brands have their own identity as well as what yours may be is key. But still, go in with the large ideas and approaches and (if necessary) scale it back from there. 

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When you start a new project, do you usually come in with any ideas or thoughts, or is it usually a blank slate?

Definitely a blank slate.

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What are your long-term goals and aspirations as a filmmaker and producer? Are there any specific projects or collaborations you're excited about?

Eventually I want to delve into live work that creates experiences - such as producing Fashion Shows, Tour Visuals, Art Events and definitely feature Film. I’ve never seen my career staying within and only the digital space but it has played a massive part in laying the foundation for my future goals. Production and filmmaking spans across so many outlets and I’m here for it all! I know that when you migrate to these new fields your position does switch up a bit though, so I wouldn’t want to lose that all for a project that will come and go, but titles are just titles right? 

And YES! A lot to be excited about in the upcoming year, but let's not jinx it - you’ll see eventually (if I can be bothered to showcase it lol).

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What will you say is your most fulfilling work as a creative?

Um, probably my master’s final year thesis. That was a staple in my education and marked myself a fully chartered RIBA Architect. I know I don’t practice but I told myself I’m leaving this career with a bang. And I did exactly that. I think it was the most beautiful design project I’ve ever done in my 8 years of study. Towards the end I remember being on my last leg and calling it quits - For those who know, Architecture is not a joke neither is it your mate. At the time I was balancing it with my production work. I would come home from 10 hour shoot days, open CAD and InDesign, work till 4am on my drawings and presentation and repeat the next day. I had my family & friends and tutor carrying me to the finish line. Honorable mention to Dan Dubowitz, my tutor. A real one. 

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Do you think it is possible to judge art objectively?

No. That’s no fun.

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What favorite items do you own?

My adorable Boerboel named Coco, Alexandre De Betak’s Fashion Show Revolution Book & my Nespresso Vertuo Coffee Machine.

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What’s the one thing you can't travel without?

Speakers.

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What is your metaphor for life?

At the end of the day, the day gotta end. - Glorilla