"The vibe created on set has to be captured on film -- that transcends everything [in terms of] importance because you have to appeal to your audience emotionally."

Well respected in both the feature and commercial world, Sayeed is probably best known for lensing a few joints with maestro Spike Lee, namely Clockers, Girl 6, He Got Game and The Original Kings of Comedy not to mention Ice Cube's The Player's Club and hip-hop/R&B promo king Hype Williams' feature Belly.

Sayeed has since expanded further while continuing his feature work, making the move to both direct and lens commercials just three years ago after signing with Little Minx in LA. Since then, Sayeed has shot the elaborate Matrix-goes-Zen Canon spot "Japonism" (featuring composer/musician Ryuichi Sakamoto), Sony's 16mm/still photography combo "Beach," and Polaroid's tongue-twisting "New Year's Kiss," to name a few.

"A lot of people approached me for representation before I made the decision to direct," says Sayeed. "But I didn't want to make the move until I was prepared because shooting features pretty much blocked me out for four to five months at a time."

Back home in Washington, DC, Sayeed first stepped into the visual world snapping stills with a camera as a kid. His uncle, a lighting designer taught Sayeed the basics of lighting that he then utilized as an electrician on stage plays. "Basically it was a lot of high-end concerts and theater work that really shaped my understanding of lighting," explains Sayeed.

After graduating in Film Studies at Howard University in Washington, Sayeed began lighting for bands, which "got old fast," so he bit the bullet, bought a camera and resumed studying cinematography with a vengeance.

After shooting studio films, Sayeed moved into music videos and found himself working alongside Hype Williams. "Hype's my man, and then Spike Lee saw my reel," explains Sayeed, who shot promos for a number of artists at the time that included Tupac. "We were cranking them out up until he died," says Sayeed on the infamous rapper.

It was when DP Ernest Dickerson (Malcolm X, Mo' Better Blues, Do The Right Thing) was unable to shoot for Spike Lee that Sayeed was offered the chance to DP outside music videos.

"I used to gaffer for Ernest so I was a familiar face," continues Sayeed. "It was by luck that a producer mentioned to Spike that I shot stuff, then Spike gave me an opportunity to work for him."

Sayeed's first feature, as a DP on Clockers was at the tender age of 24 and he has amassed additional credits to those listed above on Eyes Wide Shut and Gattaca, both on 2nd Unit crews.

As for an additional hand in directing, it wasn't until Sayeed's meeting with exec producer Rhea Rupert of LA-based Little Minx that he was convinced it was the right time to direct.

"Once I met Rhea I decided to take the time to make it work because we had the same agenda; her priority is the creative, as it is for me, because at the end of the day that's what makes a commercial work. Forget the money, because whatever [amount] you get is bound to go and in the end the creative is what will live on. She understands that, plus I like her style."

Sayeed's commercial credits include spots for Sony, Wild Turkey, Oxford Health Plans, Verizon and the recent Fuji job in Toronto. His work on Canon's "Japonism" earned Sayeed a place on the shortlist for the Young Director's Award at Cannes from the Commercial Film Producers of Europe. His stay at Little Minx has seen Sayeed direct and shoot further music videos for Lauryn Hill, Jay-Z, Prince, D'Angelo, Youssou N'Dour and Wyclef Jean, to name a few.

"Malik loves photography and he has many passions," says Rupert. "It's all about creation for him."

As for the Fuji spot currently in post, the project was right in line with Sayeed's style of photography. "The Fuji commercial that we shot over the last two days centers around obscure, simple photography," explains Sayeed.

"I think simplicity is the key here. If it works on that level it'll be very cool. It has abstract images that finally make a connection at the end of the spot, showing that beautiful images and colors can be found absolutely anywhere. I could have shot this for another two weeks."

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