The Work That Made Me: Saidah Belo-Osagie

Saidah Belo-Osagie is a Nigerian-American, Long Island-bred producer, director and writer based in New York City. Saidah got her start in the industry as a development intern at Tribeca Productions. Since then, she has worked as the Executive Assistant at the Gotham Film & Media Institute, fka Independent Filmmaker Project, and as the Director’s Assistant for the ABC legal drama, FOR LIFE (2021), as well as the Netflix heist drama, KALEIDOSCOPE (2023). Currently, she is an Associate Producer at the NYC-based production Studio, VERSUS. She also hosts and produces Afrobeats Futura, an event series celebrating the growing impact of afrobeats in New York City.  

Her personal work explores Black relationships through surrealist satire, revealing taboos often overlooked in mainstream media. Her short film, TINGE (2020), debuted in festivals nationwide including NewFest, Tallgrass, and East Village Queer Festival. 

She graduated from the University of Pennsylvania in 2018 with a Bachelor of Arts in Philosophy, Politics and Economics and a minor in Film & Media Studies. 

The ad/music video from my childhood that stays with me…

There was a mid-late 2000s moment where commercial jingles were almost too catchy. I have memorised the Optimum Triple Play phone number (against my will) thanks to this iconic commercial. If social media has taught us anything, it’s that a super catchy, minute-long song is all you need to sell anything.    

The ad/music video/game/web platform that made me want to get into the industry…

Well, technically it’s an ad…for John Malkovich. When I watched Being John Malkovich for the first time in high school, I couldn’t get over how painfully good it was. It’s on par with my first viewing of Wizard of Oz, which is the ultimate: “How the hell did someone pull this off?” 

From the production design, to the performances, to the incredible direction of Spike Jonze–including the insane script by Charlie Kaufman–I have no notes. 

It doesn’t matter how bold or bizarre an idea is; this taught me that I always have a chance to make it my own. I fully commit to my art. If someone can convince me that being in John Malkovich’s head is the best way for me to spend two hours, give them ALL the awards. 

The creative work (film/album/game/ad/album/book/poem etc) that I keep revisiting…

Brit Bennett’s Vanishing Half always reels me back in. It’s one of those novels that are so vivid, you can literally see it unfold before you as you turn the page. It’s gotten bad… I’ve convinced myself that these characters exist in real life. Sometimes, I’ll be in the middle of some mundane task, and I think, “what ever happened to the Vignes twins? Did the cousins see each other again? Do they die with their family secrets?” I love when the world an author builds is so rich, it lives in your head rent-free, maybe forever. 

My first professional project…

When They See Us. I was a development assistant at Tribeca Productions, which produced the Netflix miniseries. Whenever I had to bring something to or from set, I would linger around the crew and familiarize myself with the space. “Alright, that’s crafty; this is kinda dope. Ooh, and there are the location PAs blocking off the street and getting flipped off. That’s where A and B cameras are stationed…”

And, of course, the subject matter was very sobering. On the first day, we all had a big cry because the men who were wrongfully arrested/referred to as ‘The Central Park 5’ surprised us on set. It was such an important reminder of the responsibility that everyone on set has to tell a story—a true story, with grace and gratitude. Ava DuVernay cultivated a safe and diverse set that I unfortunately learned was more of the exception than the rule, but I’m so grateful to have that as my first official project.  

The piece of work (ad/music video/ platform…) that made me so angry that I vowed to never make anything like *that*…

Every PETA commercial I see is crazier than the last. It hurts to witness organisations and brands do something wildly controversial for the sake of 'making a statement'. If the 'statement' comes at the cost of every marginalised community, what are you really trying to say and to whom are you trying to appease? 

The piece of work (ad/music video/ platform…) that still makes me jealous…

Pharcyde’s ‘Drop’ music video. Clearly, I just want to be Spike Jonze, ugh… 

The creative project that changed my career…

Season 2 of the ABC show For Life, a 50 Cent show that ironically wasn’t part of the Power or Ghost universe, is what truly launched my career. My two-year stint as a director/EP’s assistant taught me so much about every side of television production: directing, producing, developing, and, most importantly, community-building. 

I’m proud to say that For Life was the first show that went into production during the pandemic, which taught me the importance of being scrappy and economical, while always maintaining artistic integrity. Considering that I was practically sending paper planes to my boss, asking what he wanted for lunch or which sides needed to be printed out, I’m in awe that we were able to create a whole season during one of the most traumatic periods of our lives. 

The work that I’m proudest of…

My first short film, TINGE. I wrote and directed the film right after college, with not the faintest idea of how to make a film. However, I’m so glad that I had no idea how difficult and expensive it would be, otherwise I would have never done it. It was another pandemic baby—in that it was released in 2020—but it actually got picked up at different festivals, including Newfest, Tallgrass, and East Village Queer Film Festival. It was an amazing experience—even though I was in my childhood bedroom answering questions on panels, I had never felt so vindicated by a labor of love. 

I was involved in this and it makes me cringe…

Nada. I stand by what I’ve done! 

The recent project I was involved in that excited me the most…

I couldn’t be more pumped and proud of our upcoming documentary with Paramount+, Choice. The team is brilliant and the subject matter is deeply interesting, provocative, and resonant—we approach the 50th anniversary of hip-hop. As for a personal project, I host and produce Afrobeats Futura, a quarterly series at Soho House that celebrates the rise of afrobeats in NYC and beyond :) Stay tuned for our next event over the summer!