Stacey Muhammad is a visionary filmmaker whose storytelling brought depth, authenticity, and powerful representation to the screen. Originally from New Orleans, she has directed acclaimed series such as “Queen Sugar,” “Bel-Air,” “Power Book III: Ghost,” and “Cross,” bringing nuanced perspectives to each project. She sees filmmaking as an extension of community work, using her platform to create space for Black voices and stories. Her dedication to honest storytelling and representation has left a lasting impact on the industry that will inspire future generations of filmmakers.
Can you walk us through your creative process when developing a new project?
The creative process when developing a new project starts with a lot of research. I have different creative and producing partners. My daughter is one of my producing partners. I just started a new production company with another producing partner. I have a team of people that I work with. We start with just doing research. One of the things that I learned, and I always talk to newer and younger filmmakers about, is that when I went to film school, I learned how to do everything. So, it put me in a position where I don’t really have to wait for anyone to do anything for me. So, I do a synopsis. I do a lookbook. I create all the things that need to be created so that we can prepare the project for funding or for shooting.
If it’s something that I’m doing independently, it’s just about getting people to see the vision. If it’s something that I’m sending over to my representatives to pitch to a streamer or a network or whatever, again, it’s about getting people to see the vision. I think by coming from an indie filmmaking background, you know, it’s kind of like a do-it-yourself mentality. I don’t really do a whole lot of waiting around. Even if it’s something that I want to do on a quote-unquote larger scale, I have the tendency to create a proof of concept. You know, we may go out and shoot something. I think for me it’s just about really enjoying the process.
What challenges would you say you have faced as a Black woman in the television and film industries, and how have you navigated them?
I believe that film and television, to some extent, are just reflections of the world we live in, you know? The same challenges I face as a Black woman in society stem from the fact that this industry historically hasn’t prioritized Black people and their stories, which presents a hurdle. So, when I was an indie filmmaker, I didn’t really focus on being part of the industry, necessarily. I wanted to focus on my work. Thank goodness for Ava DuVernay, Oprah Winfrey, and Queen Sugar for creating a space for women filmmakers, especially women of color, to accomplish the work that has long been overdue. For me, overcoming challenges sometimes means being on a set where some people still hold outdated beliefs.
The issue of diversity and inclusion isn’t solely about bringing more people in; it’s also about changing the mindset of those who are already there or, if necessary, replacing them. I don’t compartmentalize my life, so I consider all my work to be spiritual. The stronger I become spiritually, the stronger I am as an artist, which helps me navigate the challenges I face. It’s about knowing who you are, recognizing that you deserve your place, owning that space, understanding your craft, and using your voice.
Your work has spanned television, documentaries, and digital series. How do you adapt your storytelling across the different formats?
I think it’s all about a good story. It’s all about connecting with an audience and telling a relatable story. I’m pretty particular about what I am signing on to direct, and the type of stories I tell, especially at this point in my career. I mean, even though they’re different mediums, it’s all about what’s on the page. Television is incredibly collaborative, and if you’re going in as an episodic director, it really is important to be collaborative and know that it is the producers, the showrunners, and the creator’s show. It’s about having a vision, being very much able to be a part of a team, working well in a team, and still very much holding your position as the leader of that team, for the time that you’re there. But it’s all about a good story. I started in documentary filmmaking, and so I know that really well.
I’ve been really lucky because even though much of what I did in my indie career was pretty dramatic work, I got into television after Queen Sugar. I got into comedy. I’ve done drama, now with doing Alex Cross, and some thrillers. I’ve been able to cross genres, which is something that a lot of people don’t get an opportunity to do. I think just understanding the story and making sure I’m telling a story that I’m passionate about is what I’ve been doing.
What would you say is your most memorable moment in your career so far?
Wow, my most memorable moment? I think getting to work with Whoopi Goldberg. It’s funny because I had known her for years before we had the opportunity to work together. She had always been incredibly supportive of me as an artist, a woman, and a friend. There was an indie project that I was doing, For Colored Boys, where I met her as a result of that project. But it was five to six years later that I got into television, maybe like seven. Time flies, maybe seven or eight years later, when I directed her on Harlem. When I interviewed for the job, and they told me that Whoopi was a part of the cast, I told the producers she was a friend of mine, but I did not want them to tell her I was coming in to direct a block of the show.
So, I visited one day before I started shooting, and she was there working on set. I got to go in the back and surprise her, and just seeing the look on her face when she saw me was incredible. I knew how proud she was, and I felt proud too, having worked so long and hard to reach that point. Because of who she is—not just in the industry but as a person—it felt like a real full-circle moment for me. It was a genuine accomplishment, and knowing she was proud of me meant a lot, as she had invested so much of her time, energy, and resources into helping me and other women achieve our career and life goals.
I know that had to be like a dream come true. My next question is, what advice do you have for aspiring filmmakers who want to create socially conscious work?
If you want to create socially conscious work, it says a lot about who you are as a person, so you’re already doing something right. I think the biggest advice I would have for them, though, is to really take care of yourself. Again, it’s a misconception that we can compartmentalize our lives. I’ve been hearing and really sitting with this quote, “How you do anything is how you do everything.” So, I would tell people to take care of themselves, spiritually and holistically. And they will show up for themselves as artists and as human beings.
Socially conscious work can be really heavy. Sometimes work on not just shining a light on what’s wrong but also creating narratives that are what people need to see, how people need to see themselves, and creating narratives that give people hope and give people options and opportunities. There’s a lot of focus on what’s wrong. And we should focus on the truth of what’s happening. But I think beyond that, it’s really important—if you look at something like Lovecraft Country, something like Supacell, there are a lot of different shows that are depicting Black people in ways that you don’t usually see us depicted. So, while we’re shining a light on what’s wrong, we have to create narratives to give people hope about what is and can be right.
I think that’s so important. Are there any upcoming projects that you’re particularly excited about?
I’m getting ready to direct a block of a new show for Amazon. I don’t even know if I can mention it yet… But it’s a new show for Amazon that I’ll be directing a block of. And it’s amazing, you know. So again, I’ll be back with the same folks that did the Alex Cross series. I’m really excited about that new show for Amazon because it’s another level of television directing for me. And it’s a type of story about someone’s life we all love, adore, and care about.
Beyond that, there’s the feature film that I have with Malcolm D. Lee, I’m just ecstatic about getting ready to do work that matters to me beyond the scope of television and being able to do it with Malcolm D. Lee, who has been on board and really supportive of me in the same ways that Whoopi has been for many years. I’m really looking forward to those two projects in particular.
My last question is, how do you see the film and television industry evolving? And what changes would you like to see?
It’s weird. The industry is in a weird place right now. I think we’re all kind of waiting to see what happens, especially with the introduction of AI. We are all waiting to see what happens. The way it’s evolved, it’s beautiful that people are taking it upon themselves to tell the type of stories they know are important to tell. I think life, at some point, starts to self-correct. And we’re getting to a time where the audiences need meatier material. They need material that matters more, that moves and inspires them in their lives.
There are content creators who are telling those stories. I think people are a lot less concerned about the quote-unquote industry, and people are finding ways to tell stories. And there are places like Lena Waithe’s Hillman Grad and Issa Rae’s Hoorae Media, Justin Simien’s Culture Machine, and of course, Ava and all the things that she’s doing. These are people who are like reaching back and sideways, and forward to get their people and bring them up. I’m excited about the people who know that now. This is really about community. We need to get grassroots and community-like and less quote-unquote industry-focused, and make the industry more community-focused. It’s what Ava did with Queen Sugar. It’s what Issa did when she brought all her folks with her along on the ride for Insecure. It’s what Lena’s doing. And God willing, that’s what I will continue to do as I move up in my career.
Be’n Original
