Actor Brian Kabugi.
From his early days as Kenny in ‘Machachari’, Brian Kabugi has spent over a decade shaping his place in Kenya’s film industry.
Now 25, the actor, producer and creator opens up to Michael Ochieng about dropping film school to pursue acting, and his evolution into production.
You have been in the industry since you were 12. What is the most vivid memory you carry from those early days in TV and film?
My most vivid memory was from my time in “Machachari”. That is where I learned how to own my character. Our director, Kimani Mboro, would tell me, “Read the script to understand the story, but do not read your lines.” He wanted me to speak in my own way and make the character real. I once went completely off script, and it worked so well that it helped define my character. That experience taught me how to own scripts and perform authentically. Another vivid memory was my first audition after “Machachari”. I auditioned for an older role, and the director told me the only reason I could not get the job was that I was too young. I had taken myself for the audition, just like I did with Machachari. Those moments taught me confidence and discipline.
Actor Brian Kabugi.
Over the years, how has your understanding of storytelling evolved from being in front of the camera to now leading creative projects?
My understanding has grown a lot. I realised I cannot just wait for someone else to create stories that represent young people. Before, there were very few shows telling youth stories. So, I decided to start creating my own opportunities and telling my own stories. I wanted to create platforms for other young people to explore their talent and gain experience. Moving into production became my way of building opportunities for myself and others.
Were there moments when you doubted if this path was worth it, and what grounded you?
Yes, there were many moments of doubt. I often wondered if I was too young or if I could handle the financial and technical challenges of production. Most young producers face a lot of fear and uncertainty because the industry can be hard. But what grounded me was the belief that this is what I was chosen to do and that I could make an impact beyond just being on screen.
Having grown up on screen, how do you think that shaped your sense of self and creative identity?
Growing up on screen shaped me into a disciplined and confident performer. From a young age, I learnt to handle pressure and understand characters deeply. It helped me know who I am creatively, and it made me appreciate the hard work behind every scene.
If you could give your 12-year-old self one piece of advice now, what would it be?
I would tell him to trust the process and stay patient. Every experience, whether big or small, builds you into who you are meant to become.
When you approach a new project, what draws you first: the story, the character or the message?
The story draws me first. I look at what the story stands for and how it connects to people’s real lives. If I can connect to the story and its message, then I know it is something I want to work on.
Actor Brian Kabugi.
How do you balance your creative instincts with the practical demands of producing, especially when resources are tight?
It is a big challenge. As a creative, you want everything to be perfect, but as a producer, you have to think about what can actually work with the resources you have. I learned to be more creative with less, like changing settings or using creative camera shots to tell the same story. Limited resources have actually made me more innovative.
What is a behind-the-scenes lesson about filmmaking you learned the hard way but now value the most?
I learnt that things will not always go as planned. You have to adapt quickly and make solutions work. Flexibility and problem-solving are key lessons that now guide how I work.
You have worked with many young creatives. What is your philosophy when it comes to collaboration and leadership on set?
My philosophy is that we are all learning. Nobody is perfect, and mistakes are part of growth. I believe in hunger and desire. If someone is hungry to learn and grow, I will work with them, even if they are not perfect. It is about teamwork, patience, humility and learning from failure.
How do you define success for a project? Is it about critical acclaim, audience connection, or personal fulfilment?
For me, success is about audience connection. If people watch and feel something real, that is success. Critics will always exist, but what matters most is how the story touches the audience emotionally.
Actor Brian Kabugi.
As someone who has grown up in the Kenyan entertainment space, what changes have you noticed in how youth stories are told today?
I have noticed that young people are now being represented more. The stories are becoming more authentic and relatable. Before, many Kenyan filmmakers made films for other filmmakers, not for the audience. But now we are creating stories for real people, about real lives, and that change is very positive.
Who are some Kenyan or international filmmakers who have inspired how you approach visual storytelling?
I am inspired by Abel Mutua, Phil Karanja, and Njugush from PhilIt TV. What they have done with independent production and distribution in Kenya is amazing. They have shown us that we can build our own platforms and not depend on networks. Their teamwork and creativity inspire me a lot.
Do you feel a responsibility to represent the realities of your generation through your work?
Yes, I do. I feel like our generation’s stories have not been told enough. So through my work, I want to reflect our struggles, dreams and daily realities in a true and relatable way.
What is one creative risk you have taken that taught you something powerful about your voice as a filmmaker?
Starting my own production company was a big risk. It taught me that I can create opportunities even when I do not have much. It showed me the power of believing in my ideas and working with others who share the same vision.
Actor Brian Kabugi.
How do you fund or support your independent projects?
Mostly from my own pocket. Sometimes, I collaborate with friends and we combine resources to make things happen. We prefer to create something first and then look for sponsors using a finished product, not just a proposal. Collaboration helps reduce costs and keeps the dream alive. Like Mid Young Crisis, we were working with a budget of about Sh850,000 to Sh1 million, including post-production. For the primary shooting phase, we spent roughly Sh800,000 covering cast accommodation, transport, and location fees. If we had the funds for a standby generator, that scare could have been avoided. Still, teamwork and quick thinking helped us salvage the day and complete the production successfully.
Can you say that filmmaking in Kenya is currently a sustainable career path, or do you still have to find creative ways to survive?
It is not yet fully sustainable. We still face big challenges, especially with distribution. Many filmmakers struggle because there are no proper systems to get their work to audiences. So we have to find creative ways to keep going, like self-funding and using social media to market our projects.
What has been one of your biggest projects and the best pay you have received from acting?
One of my biggest projects was “Salem” Season 2. I was on a 13-month contract, and it paid me really well. It was one of my best cheques so far. At times, I balance different projects like acting, producing, and influencing, so the income makes more sense overall.
Beyond film, what other ventures or skills help you sustain your creative lifestyle and career growth?
Social media plays a big role. I create content and do brand influencing, but everything I do is still connected to entertainment. Even when I am not on set, I am still creating or promoting something. I also did not go to campus; I finished high school and went straight into acting. My mom wanted me to study film, but I chose to learn through experience, on set, and that has shaped my whole career.
What is next for you as an actor and producer?
Right now, my focus is expanding Mid Young Crisis into a multi-platform project, a YouTube series, possibly a short film version, and hopefully a deal with a streaming service. I am also developing two other scripts, one exploring the mental health of creatives and another about fatherhood. I want to keep telling stories that reflect young Kenyans, honestly raw, funny, and human.
What do you think is missing in Kenya’s film ecosystem for young creators like you?
I think financial structures and mentorship. There is immense talent, but very little sustainability. We need grants, proper distribution and fair pay models so young filmmakers can survive and grow without burning out. Also, access so that young voices are not dismissed because of age.
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