ACTOR MANAGERS MAY BE A DOUBLE-EDGED SWORD IN A GROWING FILM INDUSTRY

As Uganda’s film industry continues to find its footing on the global stage, one debate has quietly grown louder among actors, producers, and casting professionals: Do actors in small film industries like Uganda actually need managers? While managers are traditionally seen as allies who guide an actor’s career, in Uganda, their presence often raises more eyebrows than opportunity and in some cases, they may be doing more harm than good. A while ago, I was serving the role of manager for some prominent actors and actresses and I ended the relationship because I realised that most producers would opt-out hiring them as soon as they shared my contact. I was blocking progress.

The Promise of a Manager

In more established industries like Hollywood or Nollywood, managers play a critical role. They guide an actor’s career decisions, negotiate contracts, seek out new opportunities, and protect their clients from exploitation. In theory, the same should apply in Uganda. A good manager can help an actor avoid being underpaid, overworked, or cast in projects that don’t serve their long-term goals. With the right network, they can open doors an actor alone might not access.

The Reality in Uganda

But Uganda is a different ecosystem.

Here, the film industry is still informal, budget-sensitive, and largely relationship-driven. Producers and directors often work with tight resources, making casting decisions based on availability, affordability, and personal rapport rather than going through layers of formal gatekeepers.

Many producers in Uganda express frustration when they try to reach out to an actor and are told, “Talk to my manager.” In several cases, this interaction ends the opportunity before it even starts. Why? Because some managers, instead of facilitating access and negotiation, act as unnecessary barriers. They either overprice the actor, respond unprofessionally, or delay communication. The result? The producer simply moves on to a more accessible actor, often one who’s just as talented but easier to work with.

Real-Life Examples

A casting director (who asked to remain anonymous) recalls reaching out to a promising young actor for a leading role in a TV drama series. “The actor told me their manager would handle everything,” they said. “I called the manager. They didn’t pick. They replied two days later, asking for a fee five times our actor budget. We had to move on, even though the actor was perfect.”

In another incident, a well-known Ugandan actress lost out on a role in a major regional co-production simply because her manager insisted on a meeting fee before sharing her availability. “That one conversation cost her a breakout role,” says the producer.

When Management Becomes a Barrier

The irony is that while actors hire managers to help them grow, in Uganda’s current film climate, many end up becoming bottlenecks. This is especially true when managers are either inexperienced or motivated more by quick profits than career strategy.

Actors who rely solely on managers to find them work without also putting in personal effort to network, market themselves, or engage with casting calls can find themselves stagnating, even as the industry grows around them.

So, what’s the solution?

Yes, Ugandan actors do need management but not in the conventional, Western sense just yet.

They need mentors, career advisors, and support systems, people who understand both their talent and the current limitations of the industry. Actors need representatives who are strategic, accessible, and aligned with the rhythms of a growing but fragile ecosystem. Most importantly, they need managers who know when to lead and when to step aside.

If you’re an actor in Uganda today, don’t rush to get a manager just because it sounds professional. First, build your brand, network, and reputation. Find people who can coach you, help you navigate contracts, and guide your decisions but don’t hand over your entire career to someone who might not understand what you’re building.

And if you’re already working with a manager, evaluate their value not by their title, but by their impact. Are they opening doors or closing them?

That is why I stopped being a manager, because our producers/directors and system still wants to deal with actors directly to avoid middlemen practices.