by Kandiss Edwards
December 24, 2024
Stacey Muhammad talks weaving through the film industry ‘with ease and without desperation.’
Stacey Muhammad, fresh off directing the wildly successful Prime series Cross, spoke with BLACK ENTERPRISE about being a lifelong creative, independent filmmaker and director.
The Queen Sugar director studied dance before falling in love with the film. She’s adeptly woven through a 15-year independent filmmaking and producing career and has since made her mark in episodic directing.
Muhammad’s life experiences are tied to her success. Her history as a dancer informs her directorial style, as she “loves a moving camera.” Muhammad spent many years in the Nation of Islam, which informs her “do for self” independent streak. Her identity as a Black woman from New Orleans “deeply” shapes her direction. Muhammad spoke on her journey and dropped a few gems along the way.
Tell readers a little bit about yourself and how you got your start in the industry.
(In the) early 2000s, I started taking just about every workshop you could possibly imagine about filmmaking. I spent about 15 years as an indie filmmaker and in 2013, I created a web series called For Colored Boys and it did incredibly well.
What led to you building your own table as an independent filmmaker?
I knew very early on that I was not interested in knocking on doors. I spent time in the Nation of Islam, and other community organizations, so I always had a do-for-self mentality and I also wanted to tell a certain type of story. All my mentors and people I respected took the route of self-sufficiency.
How do you remain authentic to the Black experience and still make your work uniquely yours?
I am not thinking about whiteness. Filmmaking for me is an extension of community work, to support Black people being in spaces where they can be themselves.
You directed episodes 5 and 6 of Cross, both were turning points in the show. When the foundation of the show has already been set, how do you jump in and still maintain your unique vision?
People have a tendency to view episodic directing as restrictive. I just don’t see it that way.I haven’t been on the show where I haven’t been “allowed” to do what I want to do.
The cinematic language is broad.”With Cross, Ben Watkins and his team are incredibly collaborative. They supported the risks I wanted to take.”
I have to ask about Aldis Hodge. He’s been in the business for a long time, but is only now receiving his flowers. What were the challenges or highlights in working with him?
He has a beautiful spirit and is absolutely collaborative. His masculinity comes with a tenderness. This opportunity is something that he’s been waiting for, wanting, and deserving of for quite some time. And that is a perfect recipe to get really good work done.
Directing is about making small adjustments and helping your actors see more colors and other routes available to them. He took the notes and did that beautifully.
On The Record is your music docuseries. What made you want to highlight New Orleans’ music scene?
When people think about New Orleans, they think about jazz. They think about the brass band. There’s a community of diverse artists here that make a broad range of music.
Can you talk about Black In The Holyland?
It will be Marc Lamont Hill’s directorial debut. Its about the plight of Black people in Palestine. It will spark a much needed dialogue and shine a lens on what it’s like to be Black in that region.
Is there any advice you would like to share with the Black women that want to get into film, directing, or even those who are struggling their way through?
Do your work.
The relationship that I had with Malcolm D. Lee started in 2013 when I did For Colored Boys. He had an invested interest in me as a creative. He introduced my work to Tracy Oliver. Now, I’ve directed multiple episodes of Harlem and First Wives Club for Tracy Oliver.
I made relationships in my indie filmmaking world when I wasn’t making the money.
So, do your work. Have a sense of agency. You’ll get exactly where you wanna get to, but you wanna get there with ease and without desperation.
Any other upcoming projects?
I have a feature film, The Return, that’s in development with Malcolm D. Lee’s company. It’s a horror feature film that we will shoot here in New Orleans.
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