According to Omotola, the decision targeted eight of Nollywood’s biggest stars at the time, effectively freezing them out of a powerful section of the industry. The affected actors included Genevieve Nnaji, Ramsey Nouah, Jim Iyke, Stella Damasus, Richard Mofe-Damijo, Nkem Owoh, herself, and one other unnamed colleague. The ban restricted the group from working with certain marketers who controlled production and distribution, drastically reducing their access to film roles.
Omotola explained that the justification given by the marketers was that the actors were allegedly having a negative influence on the industry. However, she strongly disagreed with that narrative, insisting the real conflict stemmed from the group’s insistence on higher standards. According to her, the actors were pushing for better quality productions, improved professionalism, and fairer practices—demands that clashed with the interests of those who dominated the industry at the time.
She revealed that while the ban initially applied to all eight actors, it did not last equally for everyone. Some of her colleagues were gradually allowed back into the system after about a year. Her own exclusion, however, extended longer than most.
Omotola attributed this to her decision not to attend a reconciliation meeting organised by the marketers. She explained that her absence further strained relations and prolonged the standoff, effectively keeping her sidelined for an extended period.
Rather than allow the situation to stall her life, Omotola said she chose to redirect her energy. During the period of restriction, she explored other creative and business pursuits, including music. She released her first album at the time and also focused on business ventures, particularly investments and property development.
Looking back, the actress said the experience taught her resilience and the importance of adaptability. Instead of dwelling on circumstances beyond her control, she chose to explore new opportunities, a decision she believes ultimately contributed to her long-term growth and sustainability in the industry.
Recounting the incident, she said, “The first eight were me, Genevieve, Ramsey Nouah, Jim Iyke, Stella Damasus, RMD, Nkem Owoh, and one other person. We were eight—they just banned us.”
Years later, Omotola’s reflections offer a rare insight into a turbulent period in Nollywood’s evolution, highlighting the growing pains of an industry transitioning from informal structures to more professional standards—and the personal costs paid by those who pushed for change.