Bisons Behind The Scenes: A Day with Malik Hassan Sayeed 

This article is written by a student writer from the Her Campus at Howard chapter and does not reflect the views of Her Campus.

Behind every great film, there’s someone behind the camera shaping the way we see our story. For Howard students, that someone was one of our own. Amazon MGM Studios were kind enough to give us an exclusive screening of After The Hunt, directed by Luca Guadagnino, and a chance to sit down with Howard Alum and acclaimed cinematographer Malik Hassan Sayeed.

Sayeed, who hails from New York, graduated from Howard in 1999 with a degree in film. He first got his start as a gaffer on Spike Lee’s Malcom X before becoming the youngest Black cinematographer to ever shoot a feature film, while still in his twenties. He went on to lens four more Spike Lee features, bringing his own eye to Stanley Kubrick’s Eyes Wide Shut and Andrew Niccol’s Gattaca and later cofounded the independent studio TNEG. Dedicated to pushing black cinema to the forefront of the culture, his world touched everything from Beyoncé’s Lemonade to commercials for Apple and Nike, earning him recognition as one of Adweek’s “Creative 100” Visionaries. 

I was fortunate enough to participate in every aspect of this experience – from the Masterclass to the brunch to the screening – and it all culminated in the highlight of the day: my interview with Sayeed himself. 

The screening was the first event to kick things off, as we waited to get in, I took it upon myself to hear from the students who had gathered to watch the screening. People were buzzing. Some were simply fans of Guadagnino’s work. Others shared their excitement about the cinematography and aesthetics of the film.

But when I asked how it felt to see a fellow Bison behind the camera, the answers carried a different weight. To them, it was about what Sayeed’s career symbolized. “Sometimes you feel like you have to be the first one to do it,” an anonymous student explained. “But seeing that someone actually is able to do it and was the first — you’re able to look up to them, follow their footsteps, take their advice — it definitely takes a lot of load off your shoulders. It’s actually possible.”

The next day

I attended the brunch at Busboys and Poets. Sayeed spoke of his father and how he became so enthralled by the concept of Cinematography. It was clear that their bond wasn’t just about family, but about curiosity and creativity and he had a place to explore this creativity. You could tell those early moments shaped the way Sayeed sees light and story, not just as a career, but as a way of connecting to something bigger than himself.

There was something grounding about hearing him trace it all back to childhood. It made his journey feel less like fate and more like following a predestined path. It was like we were witnessing the start of his lifelong love story with film.

“The thing that got me into cinematography and excited me about cinematography and wanted me to do work in film, after photography, was me going into the dark with [my father]… and watching the image come up. And that was it. It was like magic.” Sayeed shared with the group.

Sayeed made it clear about his fundamentals. Photography wasn’t just the beginning; it was, in his own words, the backbone of his craft. “Photography is important. I mean, critically important. It’s the foundation,” he said firmly, explaining how learning the photochemical process was essential for understanding light, shadow, and exposure ( as a journalism student, this was all very new to me ). 

What struck me most was how he spoke almost reverently about photography, not as a stepping stone or merely a transition to cinematography, but as a language of its own. He described it as the root of visual storytelling, the discipline that teaches you to see before you even touch a camera. In his view, every great image starts long before the shutter clicks a deep awareness of how light reveals character and mood.

He described his training in the Zone System, a technique that aids in learning to read the density of light on film, not merely as a set of rules, but as a philosophical way to translate emotion into light. He compared it to music theory. Once you understand the notes, you can bend them, improvise on them and find your own rhythm. For him, mastering exposure wasn’t about achieving precision; it was about intention knowing when to let the shadows convey their message and when to allow the light to reveal what has been hidden.

“Once you learn the zones inside of that curve, that’s where you tell your story, where you put the exposure and the light. For me, it’s everything. I’m into the shadows. I’m into what we hide. I’m into the darkness, personally, and I think most drama is in that part of the curve.”

From craft and technique, we also asked questions about how he feels in his position. When I asked about what it means to be a black man in a predominantly white film industry, Sayeed spoke candidly about his feelings. 

There was a pause before he answered, the kind that makes you lean in a little closer. One of reflection, where you could tell he had been asked this question before, yet he took the time to respond with care. His tone was calm but firm as he discussed the balance between identity and artistry, explaining that being Black in film isn’t something he tries to perform or distance himself from; rather, it naturally shapes his vision. 

He emphasized that it’s not about fighting to fit in but about showing up with honesty, trusting that his perspective adds value. Listening to him, it was clear that for Sayeed, representation isn’t just about visibility; it’s about integrity, standing in your truth.

“Being Black is not something we can control. So everything we can control is mastering the craft,” he said.

He explained that while his experiences and influences filter through what he called his “Black nervous system,” he refuses to let the industry reduce him to a label.

“If I get called for a job, they’re calling me because I have something to offer as an artist. I’m not called just because I’m Black, I’m called because I can bring a certain truth.”

The work always starts from a universal place, from a place of passion. The responsibility lies in honoring his instincts and artistry without being boxed in. As many heads nodded, it was clear his message resonated. 

Later in the day

The conversation evolved into a broader discussion as more students joined the masterclass. Sayeed broke down his collaboration with Guadagnino on After the Hunt, while also showcasing his past work. When asked why he returned to Howard to give the students this opportunity, he claimed it felt almost destined.

“It was more serendipitous… when they [ Amazon MGM ] found out I went to Howard, they thought it was an amazing opportunity. For me to come back with this film, since it takes place on a college campus, it felt like a full-circle moment.” He paused and added what many in the room were already feeling: “There’s something about this place. It’s like, I always come back here, and it reminds me of why I started, why I push myself, why I stay true.” 

Mailk described his process as intuitive. “ It’s about what feels right in the moment,” he explained, emphasizing that even a single inch of camera placement can change the emotional truth of a scene. 

This instinctive approach does not imply that his work lacks structure or discipline; instead, it demonstrates a profound trust in the collaborative process. For Sayeed, intuition serves as a bridge between technical mastery and emotional authenticity, allowing him to remain responsive to the energy on set and the unfolding rhythm of the story.

While collaboration with directors like Luca Guadagnino was key, “[For] Any working cinematographer, this is part of your job — to align yourself with the vision of the director. But because it’s coming through, it’s going to be filtered through our vision as well, filtered through our nervous system.”

He embraced spontaneity, recalling when Guadagnino suddenly asked for handheld shots. “We weren’t prepared for handheld… but I had to get ready. Handheld is very proprietary. When I do it, I know it’s me. And I recognize it.”

If you take away the craft and lens, Sayeed impressed on students the importance of discipline and community. 

Sayeed’s insights show that cinematography includes both technical skills and artistic creativity, but it’s also about personal growth and teamwork. He emphasizes the need for a strong mindset to succeed in filmmaking. This includes staying motivated, being open to new ideas, and building connections with others.

He spoke about team-building as much as filmmaking, reminding the audience that “…energy gets transduced to the film. It’s important to work in environments that allow us to search and flow and be fluent in.” 

Many things lingered after this experience, the tips shared, the laughter, the stories traded, the questions asked. But the biggest thing Malik Hassan Sayeed left us with was something simpler: hope. The hope that we can make it.

That where we are now, this school, these classrooms, the long nights of studying, will carry us somewhere greater. The lessons we learn and the discipline we face are worth it. Howard isn’t just a pit stop; it’s a launching pad.

Sayeed said that “there’s something about this place” it’s up to us to decide if that something is a challenge or a promise, the halls we walk don’t just prepare us but transform us. The doubts will fade and as we look ahead, we’ll see Bisons already paving the way and blazing the trail. Living proof that our time will come, and our stories our next.