Danielle Scruggs: Curating the Future of Black Filmmaking

Stephanie Graham: 00:00:01

Gotta get up, get up Tell the whole world you a winner winner vision of a star with a mission in the cause what you doing, how you doing, what you're doing and who you are Flex yourself and press yourself Check yourself, don't wreck yourself if you know me then you know that I'll be knowing what's up. Hey, Stephanie. Graham is nosy. WLPNLP Chicago, 105.5 FM. Lumpedin radio. Hi, Chicago, two o'. Clock. Welcome. I am so excited to be here with you today.

We have the wonderful Danielle Scruggs in the building. I have a little bio I'm going to share about her.

So today I'm joined with Danielle Scruggs, Chicago based photo editor, photographer, writer and curator. She's the founder of Black Women Directors, a platform celebrating the work of black women and non binary filmmakers.

And her work has been featured everywhere from Marie Claire to British Film Institute. Dani Hill has also shaped the stories as a photo editor at the Wall Street Journal, Yeti Images, Vox Media and espn.

And beyond that, she curates films that we're gonna or film programs that we're gonna talk to today, such as File Under Horror and the upcoming Chicago Film Symposium. Welcome, Danielle.

Danielle Scruggs: 00:01:17

Thank you for having me.

Stephanie Graham: 00:01:19

I'm so happy to have you here. Chicago's so lucky to have you.

Danielle Scruggs: 00:01:23

Oh, thank you.

Stephanie Graham: 00:01:24

Yes. Danielle, we have to say our tribute to Assata Shakur. What a woman.

Danielle Scruggs: 00:01:34

Absolutely.

I've been posting my copy of her autobiography online pretty much everywhere that I am online, because that was just such a transformative book for me. And just like, learning her life story and just knowing everything that she stood for throughout her life.

There's like, honestly, like, kind of no words to describe knowing that she's an ancestor now. But, yeah, definitely her life. And her words, like, deeply resonated with me as a teen and as an adult.

Stephanie Graham: 00:02:15

Yeah, I'm really. I just downloaded her audiobook because I've never read it, her autobiography, actually.

And I've heard so many great things about it, and I don't know what I was waiting on, but now I have something to read. And I saw pictures of her, like, just looking on the Internet, pictures of her, and I'm so curious about her house. It, like, looked really cool.

Like, some pictures, they're like, these are pictures with, you know, insert amazing person at Assata's home. I'm like, ooh, are those floating stairs I see back there? Like, I want to see more.

Danielle Scruggs: 00:02:49

Yeah. Like, she. I feel like she just like cultivated a life of freedom, even though she Was in exile. But I think, like, she really.

She was really focused on what it means to actually be free and not free in the way of, like, I think we've come to mean freedom in terms of, like, living in capitalism and everything, but, like, freedom in terms of, like, how you approach life freedom just in terms of, like, not believing kind of distorted images about yourself or about other people of color or like other people who are oppressed. So, yeah, I just. She's definitely, like, one of my guiding lights, for sure.

And I think, like, reading her book as a teen really kind of helped shape my own kind of general way of life, like, general kind of way of being and like, how I approach a lot of things in my life, like the artistic stuff and then also just like being a person, like just being, you know, just trying to, you know, leave good in the world.

Stephanie Graham: 00:03:57

Yeah, for sure. Rest in peace, Asada.

Danielle Scruggs: 00:04:00

Yes.

Stephanie Graham: 00:04:01

What a life. Wow. Well, Danielle, you know you just came back from Wisconsin, right?

Danielle Scruggs: 00:04:09

Yes, indeed.

Stephanie Graham: 00:04:10

Yes.

Danielle Scruggs: 00:04:11

Yeah. I did a one night only horror screening called File Under Horror.

Stephanie Graham: 00:04:16

Yeah.

Danielle Scruggs: 00:04:17

And it was a short film showcase of work, horror films made completely by black women and non binary filmmakers. And it was actually a really. It was a really interesting event. You know, we actually sold out, like, ran out of chairs.

Stephanie Graham: 00:04:38

Wow. Wow. Yeah. Cool.

Danielle Scruggs: 00:04:40

And this was actually the first solo event that I did as part of black Women Directors. So I was really, really excited about that. And for it to be in Kenosha, Wisconsin, was really gratifying.

Stephanie Graham: 00:04:55

Are you a horror fan?

Danielle Scruggs: 00:04:56

Oh. Oh, my God. I love horror movies.

Stephanie Graham: 00:04:58

Really?

Danielle Scruggs: 00:04:59

I love horror movies so much. Like, I grew up. Literally grew up watching them.

Like, I remember being like, I think I was like 5 or 6 and like watching Frankenstein and getting upset. Not because the monster was scary or whatever, but because the. The townspeople were like, attacking this person. I'm like, but, well, the monster.

But I was like, but they didn't do anything in any way. So, yeah, that was my kind of first entry into horror. Just rooting for the monster.

Stephanie Graham: 00:05:28

Yeah. I've never seen Frankenstein. I don't like to be scared. So when I saw that, I was like, I hope they have the best.

Danielle Scruggs: 00:05:34

Time, but I will not be over there. Yeah, but you will not see me tonight.

Stephanie Graham: 00:05:39

Yes. But I was just so curious. I'm like, okay, what inspired Danielle to create File Under Horror?

Danielle Scruggs: 00:05:45

Yeah. Yeah, that was. Yeah, that's like, from being a horror movie fan. And then also the. The venue that I did it as the final girl bar in Kenosha. Yeah.

They actually reached out to Me, because they read my newsletter, the Black Women Director's Newsletter. And I talked about wanting to do more like in person event, like community events. And yeah, they reached out, was like, hey, we have this space.

Stephanie Graham: 00:06:05

Oh, that's.

Danielle Scruggs: 00:06:06

We'd love to host an event. And so. And so I thought, like, oh, you know, the final girl is horror themed horror movies through a black woman. Non binary femme wins. Let's go.

Stephanie Graham: 00:06:18

Yeah, that's awesome. And it sold out, basically.

Danielle Scruggs: 00:06:22

Yeah, we ran out of chairs, which that was on the survey of like, hey, make sure next time you have chairs. I was like, yes, indeed.

Stephanie Graham: 00:06:32

What the films, like, they explored that were like grief, legacy, rage and survival. What drew you to those particular works and directors?

Danielle Scruggs: 00:06:45

Yeah, what drew me to them? Well, so actually one of the films that I saw, I saw at Black Harvest Film Festival last year called the Garden of Edet.

And I just love that movie because it really talks about. I mean, yes, it's like, it's a horror movie. It's like about this Creole woman who.

Who has like this haunted garden, basically, and she has to decide between protecting a new friend that she makes or protecting this flesh eating garden.

But really, like, the movie was about like legacy and, you know, passing down heritage, passing down traditions, the dangers of like not understanding, like, where you come from. So that was something. That's something that I really like about horror movie just in general. Like, horror movies in general.

It's just that you can talk about like really deep serious issues, but you can almost kind of get at the heart of it better when it's through like this kind of fantastical lens.

Like when it's through like the lens of like, you know, a monster or like flesh eating garden or, you know, like it represents something larger than that.

Stephanie Graham: 00:07:52

Hmm. Did anybody scream?

Danielle Scruggs: 00:07:58

I didn't hear anyone scream. But definitely there were some movies though, where people were talking back to the scream, which I love.

Stephanie Graham: 00:08:04

I love that.

Danielle Scruggs: 00:08:04

I love when that happens. The last movie that we screened, Hairwolf, which is actually more of like a horror satire.

Stephanie Graham: 00:08:13

Okay.

Danielle Scruggs: 00:08:13

But definitely people were talking back to the screen. They were like, don't go in there. Like, oh my God, did she say that? So, yeah, that's what I love about doing in person events too.

It's just like hearing that immediate feedback, hearing people really get into the stories. Yeah, nothing like it.

Stephanie Graham: 00:08:31

Some people do not like that. But I think that that really marks the success of a film if you have people talking back, exact getting mad at the characters, cursing them out.

Danielle Scruggs: 00:08:40

Exactly.

That's how you know, like You've made, like, a really successful film where people can get, like, really just, like, entangled with the characters and, like, to the point where there's like, don't go in there, like, talking back.

Stephanie Graham: 00:08:52

Yeah. What I liked about it, when I was sharing that with other friends that I know love horror films, a lot of people are like, whoa, whoa, okay, okay.

Like, black women, you know, black femmes in horror. I'm like, yeah. Because I don't think you think about that. I think. And maybe because I'm a whore, I'm like.

Like, I don't pay attention to it because I don't like to be scared. It does. When I see people love it so much, I'm like, maybe I should try to give it a chance.

And then someone told me, I get it confused with gore because maybe that's another genre. I'm not sure. But yeah.

Danielle Scruggs: 00:09:27

Yeah, there are definitely some horror movies where it's just, like. It's more about shock value and it is more about gore. But the horror movies that really resonate with me are the ones that. Yeah.

Like, what I was talking about before kind of, like, use horror to talk about, like, other issues or deeper issues. And that's not to say that you can't have fun or that it's like, you're not gonna enjoy yourself.

But I think, like, those are the kind of stories that resonate with me the most. Just like, stories that use horror as, like, a metaphor. Like horror as, like. Yeah.

Kind of, like a lens to talk about, like, things going on in society at large.

Stephanie Graham: 00:10:04

Yeah. When you say it like that, maybe I will give it a shot because I'm like, okay, I can get behind some of this.

Danielle Scruggs: 00:10:08

Yeah. Yeah. Horror is great. Yeah.

Stephanie Graham: 00:10:11

Without, like, thinking it's gonna be like, somebody turned around with, like, a skate in their face or something.

Danielle Scruggs: 00:10:20

I mean, those kind of movies have their place too. But, yeah, I think, like, yeah, definitely the stories that resonate with me are more like. I guess, like, stories that are more, like, creepy.

Stephanie Graham: 00:10:30

Sure.

Danielle Scruggs: 00:10:30

Than, like, here's, like, a bucket of, like, blood everywhere.

Stephanie Graham: 00:10:33

Yeah, yeah.

Danielle Scruggs: 00:10:36

Do you.

Stephanie Graham: 00:10:37

Wait, is there anybody that's, like, in the Hollywood system of, like, a black woman that's directed a horror film? Do you know?

Danielle Scruggs: 00:10:42

Oh, yeah. Nia Dacosta.

Stephanie Graham: 00:10:44

Oh, right, right, right, right, right, right.

Danielle Scruggs: 00:10:46

She did the Candyman remake and then she's doing the 28 years later.

Stephanie Graham: 00:10:50

That's right. That's right. Okay, cool.

Because, yeah, one of my questions was going to be like, do you think audiences are finally catching up to the contributions of black, you know, contributions that black women have made in horror.

Danielle Scruggs: 00:11:03

Mm. I mean, I would say yes and no, because on the one hand, Candyman was. Let's see. I want to make sure I get this right.

But I believe Candyman was the first movie that went to number one that was directed by a black woman.

And so I think that does kind of show that, like, people are ready for something new and, like, they are ready for stories made by black women in the horror space. But then at the same time, it's like, there's not other. Like, the fact that. Okay.

Cause Candyman came out in: 2021

We shouldn't still be having first in that kind of way. But I do think that that shows. Okay. Like, people are, like, more primed for, like, different kind of stories and different kind of storytellers.

But I think it's like, okay, but we. We need to pick up the pace for sure.

Stephanie Graham: 00:12:03

And that's so crazy, like,: 2021

Danielle Scruggs: 00:12:15

I'm like, never mind. Never mind.

Stephanie Graham: 00:12:17

, that started as a Tumblr in: 2015

Danielle Scruggs: 00:12:28

We made it.

Stephanie Graham: 00:12:31

How has, like, the journey evolved over the years?

Danielle Scruggs: 00:12:36

of wild to think about, like,: 2015

Stephanie Graham: 00:12:41

Ooh, anniversary party.

Danielle Scruggs: 00:12:42

Yeah. Oh, yeah. And you. Yeah, I need to put a pin in that.

Stephanie Graham: 00:12:45

Oh, my God.

Danielle Scruggs: 00:12:46

Yeah.

Stephanie Graham: 00:12:46

I wish I had, like, turn around and it would be a cake coming out.

Danielle Scruggs: 00:12:52

Oh. But, yeah, it's been. I mean, really, the biggest thing has been is a learning process.

It's been because, yeah, really, I started it as a way to educate myself, and that's why I started it on Tumblr, because it was more so going to be like a personal blog where I just, like, collected things, like, as I went along. But it was almost like as soon as I started it, like, people started writing into me. It was like, oh, hey, add this director.

Like, oh, you should check this person out or let me connect you to this person.

And directors themselves started reaching out to me, the British Film Institute linked to the site on their official Twitter page, and Blavity wrote about it. So that just showed to me that, oh, this was a resource that I started for myself, but other people are looking for. For this kind of resource, too.

And, like, other people are looking for, again, something kind of different. Like, something that's not, like, the usual of, like, what they've been told is an important story or, like, here's like, an auteur.

And usually when people talk about auteurs In Hollywood, like, 9.5 times out of 10, like, they're talking about a white man. And, you know, no offense, you know, nothing wrong with the white, you know, dudes making their movies out there.

Like, I'm not saying that, but what I am saying, though, is that we need to kind of expand our definition of, like, what's an important story? What's a story worth telling? Who's an auteur, like, who's, like, a storyteller worth, you know, paying attention to?

Like, we just need to expand that definition. And that's what black women directors was about or is about.

Stephanie Graham: 00:14:30

Yeah. What has been, like, the most surprising discovery, like, while building this archive to you?

Danielle Scruggs: 00:14:38

The most surprising discovery? Oh, that's such a good question. Oh, you know, finding out that Zora Neale Hurston was a filmmaker.

Stephanie Graham: 00:14:48

What?

Danielle Scruggs: 00:14:49

Yeah, I found out about it through doing research because I was looking for, like, filmmakers from, like, the early 20th century. Because most of the time, like, I was.

When you look at 20th century filmmakers, like, they're talking about, especially for black women, it's mostly, like, kind of starting, like, late 60s, early 70s. But I was, like, looking to see was there anyone before that that I'm, like, not aware of? And.

Yeah, that's, like, how I found out through, like, looking through, like, the Florida archives and, like, looking up Zora Neale Hurston and looking up her, like, anthropological work. Like, her film work was part of that anthropological work.

And so she actually went to Florida and not only wrote about black Floridians and, like, black communities, like, throughout that state, but she also made films.

Stephanie Graham: 00:15:40

Wow.

Danielle Scruggs: 00:15:41

And I believe Criterion Collection had it streaming on their channel for a while. I don't know if they still have it, but. Yeah, but they were streaming it for a long time, and I think there are snippets on YouTube as well.

So that was something that was, like, really fascinating to me, just knowing that, you know, this black woman, who we all know is, like, a playwright, as an author, was also a filmmaker.

Stephanie Graham: 00:16:02

Right. In, like, many films or several, like, short documentary. Yeah. Huh. That's really cool. Who knew?

Danielle Scruggs: 00:16:10

Yeah. Yeah.

Stephanie Graham: 00:16:11

Right.

Danielle Scruggs: 00:16:11

Yeah, I've been. Yeah. Finding out just, like, little gems like that. Well, I guess that's not a little gym. That's, like, a pretty big gym. Yeah.

But, yeah, just again, like, that educational part of it. It's just been what's been really exciting for me.

Stephanie Graham: 00:16:25

Yeah. I'm not sure where, but I've seen you, like, describe black women directors as a beacon and a signal fire.

Danielle Scruggs: 00:16:34

Oh, that was actually one of the testimonials on the site.

Stephanie Graham: 00:16:38

Oh, okay. I was like, where did I see that? Oh, that's great. That's so nice that somebody said that.

Danielle Scruggs: 00:16:42

Yeah. I was like, oh. Because, like. Oh, yeah.

I actually, like, just reached out to people, like, when I was redesigning the site, just, like, asking people, you know, if you've ever used the site before, just, like, let me know what it means to you or, like, if you've learned anything from it or gotten, like, any value out of it. And. Yeah, that was one of the things people wrote in.

Stephanie Graham: 00:17:00

Yeah. Yeah. I love that. Like, I feel I started my podcast project in a way of, like, let me find.

I would always, like, look for artists who are, like, talking about their work, but you would only see, like, like, really famous folks. And you might find something, but, like, maybe the audio's not that great or it's not that long. And I love to hear artists talk about their work.

And I'm like, I'm just gonna start this myself, you know?

Like, I'm gonna start something myself to find, like, artists who I would love to hear speak about their word, speak about their work, and it also, in its own sense, becomes an archive as well.

Danielle Scruggs: 00:17:33

Exactly.

Stephanie Graham: 00:17:34

Yeah, yeah, yeah.

Danielle Scruggs: 00:17:35

I love hearing about process, too. Like, I'm such a process nerd.

Like, I always listen to the DVD extras and, like, the director's commentary, because I just love seeing, like, how other people's creative process, especially in fields that are different from mine. And, like, I kind of see, like, what can I take away from it, too, that I can bring to, like, my own practice.

Stephanie Graham: 00:17:57

Exactly. I know. I love going to, like, lectures and stuff.

Danielle Scruggs: 00:18:02

Yes. Same, same.

Stephanie Graham: 00:18:04

I remember somebody who's like, what do you like to do for fun? I'm like, go to lectures. They're like, okay. I'm like, you asked and that's a good time. Okay, it is.

Danielle Scruggs: 00:18:13

You know, you don't have a hangover afterward.

Stephanie Graham: 00:18:15

Okay.

Danielle Scruggs: 00:18:15

Right.

Stephanie Graham: 00:18:16

They have refreshments sometimes.

Danielle Scruggs: 00:18:17

Right. Exactly.

Stephanie Graham: 00:18:18

Mix and mingle.

Danielle Scruggs: 00:18:20

Exactly.

Stephanie Graham: 00:18:20

A lot of times free parking. Like at Northwestern it was free parking. You know, you go on in there and it's great. Have a good time.

What's your like, like goals with like black women directors as it becomes like this, you know, like a searchable database basically is what it's become. But like, what other fun goals do you have with it?

Danielle Scruggs: 00:18:45

Oh, yeah, well, I definitely want to keep doing more community programming and in person events. Well, probably virtual events too, in case people can't come to Chicago proper for it. But.

But yeah, I definitely want to keep bringing people together because that was something that I really like doing with the file under horror screening and then also with the Chicago Film Symposium.

Yeah, I. I just love being able to get a lot of people together and like kind of, you know, experience art and talk about it and connect with other people as well. So that's definitely something I want to keep doing.

And then I also with the archive itself, I definitely want to kind of expand the archive and hopefully start including posters or movie websites or preserving that and preserving that digitally for like people to like almost kind of use as like. Yeah, almost kind of see it as like more of like a reference library. So like, that's like kind of what I want to evolve it into. So.

Stephanie Graham: 00:19:50

Yeah, you said folks had hit you up. Like, what if people are like, oh, my cousin directs and she's not in the directory, then what happens?

Danielle Scruggs: 00:19:58

Oh, yeah. So I actually. That does tend to happen a lot really. So I actually ended up just creating a submission form for people to.

To basically kind of like self select into the site as well.

And then like I kind of go through and see, you know, is this something that I can like, because I also kind of have like certain criteria for myself. Sure. Like, I try to focus more on like filmmakers who have made like short films and feature length films or like documentaries.

Because if I get into like TV directing, then that's like a whole other can of words. I'm like, oh man, that's like, I'm only one person. Like, there's only so much I can do. So I'm trying to like focus on.

Yeah, people have made like short films or like documentary films. Yeah. Narrative, feature films, like that kind of thing.

And yeah, just like kind of like having a vetting process I think has helped because like, sometimes like, it's easy to kind of like email in and say like, oh, well, you know, I don't see this person or oh, I should be in it.

And I'm like, okay, well here, like fill out this form and, like, you know, like, let me know, like, kind of, you know, you have, like, film stills, you have a bio, you have a headshot. And I think, like, that kind of. That kind of tends to, like, it kind of tends to show you, like, who's, like, serious, like, who's kind of, like.

Stephanie Graham: 00:21:25

Who'S ready. Like, who's doing it?

Danielle Scruggs: 00:21:26

Who's doing it? Who's doing it.

Stephanie Graham: 00:21:28

Right, yeah, exactly. And also you need those, like, things to fill out for the website. So it's like, I need these documents in order to include you.

Danielle Scruggs: 00:21:36

Right, exactly.

Stephanie Graham: 00:21:37

As well.

Danielle Scruggs: 00:21:38

It's like, if you have that at the ready, it's like, okay.

Like, I can, you know, that makes sense to, like, add to the database versus, like, okay, if you're not filling that in, maybe you're just not ready at this time. And, like, that's okay. But, like, I think, like, even having something as simple as that has, like, kind of shown. Yeah. Who's kind of.

I mean, I don't want to say serious. It has, like, a negative connotation, but, like, who's, like, kind of more active and ready.

Stephanie Graham: 00:22:05

Sure, yeah, yeah. And who has the documents to put that you need to type in, you know, right.

Danielle Scruggs: 00:22:10

To maintain a. Right. And also, like, to maintain a proper archive, too, because, like, you know, I do want to make this, like, a resource for people, too.

So it's like, I do need, you know, like, film stills and, like, you know, log lines and, you know, a bio from you. And, like, that just, like, makes it, like, easier for other people to find you when they are looking through the database. So.

Stephanie Graham: 00:22:33

Yeah, yeah.

That's also sort of like a wild thing, too, because, like, how you started this out as like, a personal research project for yourself, and now it sort of becomes this, like, this piece to be included in.

And so it's like you become, I don't want to say like a gatekeeper, but, like, you become, you know, like something that somebody wants to be a part of.

Danielle Scruggs: 00:22:57

Right.

Stephanie Graham: 00:22:57

Like, people want to have their film and, like, be documented. If they're a black woman director. I could see everybody wanting to make sure that they're a part of this database.

And then if you have this, like, vetting process, like, it's just like, now it's like. I don't know what I'm trying to say, but I think I'm just trying to say, like, how important it is.

Danielle Scruggs: 00:23:16

And.

Stephanie Graham: 00:23:16

Yeah, you just want to, like, people just want to be a part of it.

Danielle Scruggs: 00:23:19

Yeah.

Stephanie Graham: 00:23:20

I mean, talking about makes sense, though.

Danielle Scruggs: 00:23:22

No, that Makes perfect sense. Yeah. I wouldn't say gatekeeper. I don't. I don't want to feel like.

Stephanie Graham: 00:23:28

No, I didn't mean it that way.

Danielle Scruggs: 00:23:29

Oh, yeah. But I would say more. More like, like, yeah, steward.

Stephanie Graham: 00:23:33

Or like, yeah, steward.

Danielle Scruggs: 00:23:35

Like, just like, wanting to really, like, make. Yeah. Like, make a resource for people. So also just, like, so people can see that again.

Like, when people think of, like, who's a filmmaker, like, who's, like, out here telling stories, like, it's not. It's not this limited view of, like, what a filmmaker is.

It's like, here's, like, here's what a filmmaker could look like and here's all the incredible, like, wide array of work that's being made.

Stephanie Graham: 00:24:06

Yeah, I just think it's so neat. Like, I love being able to go there and, like, search up someone. But are all the films, like, accessible when you, like, click on a director?

Or does it, like, is it.

Does it mostly on the site give you an opportunity to see, like, who's out here making films, and then it's up to us to follow up and see where we could see these films too, right?

Danielle Scruggs: 00:24:27

Oh, yeah. So, yeah. Thank you for asking that. Because as much as possible, I try to include where a film is streaming.

So I'll list the director, have their bio, and then beneath that, have a list of all their films. And then I'll have a link to the trailer if it is available. And then also I'll list out where it's streaming.

So I'll say, like, oh, it's available on YouTube or, you know, you can stream it on Apple or it's on HBO Max or, you know, one of those multitude of streaming services that are out there. So, yeah, definitely try to include that information as much as possible.

Stephanie Graham: 00:25:04

Yeah. And so you also have this thing, the Chicago Film Symposium. Can you tell us about that?

Danielle Scruggs: 00:25:10

Yes, very excited to talk about that. It's actually the second annual film symposium is coming up on November 1st at the Green Line Performing Arts Center.

So this year we're partnering with UChicago Arts and the Arts and Public life.

Stephanie Graham: 00:25:27

Oh, cool.

Danielle Scruggs: 00:25:27

And so, yeah, we're going to be screening movies by black and brown filmmakers who are from the Chicagoland area, and then also having panel discussions on the art and business of filmmaking.

Stephanie Graham: 00:25:38

Ooh, I love a panel.

Danielle Scruggs: 00:25:41

Yeah, yeah, we were talking about lectures, so, yeah. And then. So we'll be doing that this year. And last year we had the first ever symposium at the Sisters in Cinema Media Arts center in South Shore.

And yeah, we did the same Thing, we screened films by six different filmmakers, all from Chicago or in the Chicagoland area, and, yeah, had two panels about the art and business of filmmaking. Jada Amino, who's the curator of Black Harvest Film Festival, was the moderator for one of the panels.

And then a lot of the filmmakers that we screened are doing, you know, incredible, like, incredible things. Like, I'm, like, really excited to see that they, you know, submitted in the first place because, like, they're doing, like, incredible things.

Like, one of the filmmakers is an actor on 911, and I think that's what the show is called, right?

Stephanie Graham: 00:26:42

I think so, yeah. It's, like, on CBS or Fox or one of those.

Danielle Scruggs: 00:26:46

But, yeah, she's. But, yeah, she. So she's an actress, also a director. She's shown her work in Excel Film XL Fest.

A couple of other directors like Kid Marie and Alain Delange, they're in New Fest, another film festival that's, like, really prestigious. And so, yeah, just the fact that, like, we were able to kind of gather them all together in one spot was just, like, really.

Was just really exciting for me.

And just, like, seeing, again, just, like, all the different kinds of storytelling that's going on in Chicago and being able to showcase that for people was just, like, incredibly humbling and a real honor.

Stephanie Graham: 00:27:38

That's the word I think I was looking for when I was describing Black women directors. You said it prestigious. Yeah, I think that's what it feels like. Prestigious. To be included in that. Yeah, I really do.

Because it's like, it's such a beautiful sight and everything, so I could see how people be like, hey, put me in here. I'm not in here. Put me in here. Well, that's super exciting. Yeah.

You know, the thing about all film festivals that you go to, whether it just be, like, a short program or you're going to see, like, these features at, like, a major film festival is just how many people are out here, like, making films. That's so wild. To me. It's like Hollywood is just, like, a dot of, like, the whole film world, really.

I mean, seriously, there's so many people getting down out here and telling just.

Danielle Scruggs: 00:28:26

Like, so many diverse kinds of stories, too.

Stephanie Graham: 00:28:30

Yeah, no, that's like. I just love it. Like, wow. I'm always so inspired because I think about, like, everybody in their little. Like that little.

But, you know, like, their crews and, like, his saying, action. Just all over the world as they make these projects. I love it so much. Well, y', all, we have to take a quick break, but we will Be back.

We are here with Danielle Scruggs and this is Lumpin Radio. But here come our ads. Okie dokie. WLP, NLP Chicago 105.5 FM Lumpin radio.

We are back with Danielle Scruggs and we were just talking about the wonderful Chicago Film Symposium that is coming up November 1st. What do you hope audiences walk away with after they attend the symposium? Oh, yeah.

Danielle Scruggs: 00:29:22

Oh, well, first, before I answer that, I just want to make sure to shout out that Chicago Film Symposium is a collaboration between myself, the black Women directors platform, and also Black Film Club Collective, which is a two person crew that curates all different kinds of black film events across the city. So just wanted to make sure I shouted them out as well.

Stephanie Graham: 00:29:49

Ooh, yeah. And how did y' all get to know each other?

Danielle Scruggs: 00:29:52

Oh, through Instagram.

Stephanie Graham: 00:29:54

Oh, I love it.

Danielle Scruggs: 00:29:55

Yeah, I just sent them a message on Instagram last year and was just like, would you be interested in collaborating? And then it just kind of everything kind of sparked from there.

Stephanie Graham: 00:30:06

From there.

See, you know when people are always talking about getting off Instagram, while I understand, I'm always like, but what are we gonna do about the whole DM situation when you leave? Because it really does go down in the dms.

Danielle Scruggs: 00:30:19

It does. But as someone who feels kind of ambivalent about social media in general, I will say that I'm still a believer in email as well.

Stephanie Graham: 00:30:30

Oh my God.

Danielle Scruggs: 00:30:31

Still a believer in like, yeah, I guess kind of old fashioned ways of communicating. Which is weird to think about email being old fashioned now, but I guess it is.

Stephanie Graham: 00:30:41

I love email and I love email newsletters.

I really do see with my planner on Saturday and I open up my newsletters and I see what people have going on in the emails and I plan out my week through it. I just love email.

Danielle Scruggs: 00:30:57

Yeah, I like a good email too. And I really like newsletters too. So yeah, like, that's my alternative there.

But yeah, Instagram actually came through that time and it actually worked out. Yeah. And then to answer your question about what do I hope audiences leave with?

Stephanie Graham: 00:31:17

Yeah, like, you know, what do you hope audiences walk away with after they attend the symposium?

Danielle Scruggs: 00:31:22

Oh, yeah, I hope they walk away, I guess, just like realizing that there is. Well, first of all, there's like tons of talent right here in Chicago.

Stephanie Graham: 00:31:33

Sure.

Danielle Scruggs: 00:31:34

And you don't necessarily have to go to New York or LA to either see great film or make great films. So that's something that I hope people take away. And then also just like the community aspect too. Like, I really Hope that people come away feeling.

This is gonna sound so corny, but it's true.

But, like, I really want people to, you know, feel closer to their neighbors and feel, like, more connected with people who maybe have, like, you know, like, minded hobbies. Cause it's like, hey, we're all at a film symposium together. And so, yeah, like, I really hope that people come away with connection and feeling.

Yeah. Just feeling like this is a safe space that they can go to to experience art and to build community with other people.

Stephanie Graham: 00:32:23

Yeah, no doubt. Yeah. If there's, like, anybody out there that loves to go to lectures or panel discussions, want to come with me? Come on.

But be a neighbor in that way, because. Yeah, you're right. What else sort of excites you most about the filmmakers and stories that are coming out of Chicago right now?

Do you have anything that makes you excited?

Danielle Scruggs: 00:32:44

Oh, I mean, I think really it's just seeing just, like, the diversity of, like, approaches and thought and style. Because last year when we show the.

When we screen films, we had, like, a pretty good mix of, you know, we had a documentary about how it was middle school students who campaigned to change the name of Douglas park to be named after Frederick Douglass.

Stephanie Graham: 00:33:10

Oh, okay.

Danielle Scruggs: 00:33:11

As opposed to Stephen Douglas. So we had a documentary about that. Then we had a sci fi movie that, like, that was, like.

But it was talking about kind of, like, cultural appropriation, but through, like, this sci fi kind of lens, which was, like, really great to see. We had, like, other films that, like, kind of talked about what it's like to, you know, grow up and, like, leave home. But it was, like, all silent.

And it was just like. Well, it wasn't silent, but there was no dialogue. It was just, like, all images and sound and, like, images and music and so.

So, yeah, just like, seeing just, like, this wide variety of, like. Yeah.

Styles and approaches and stories and, you know, we only showed six films, but, like, we show, like, there was, like, so much diversity within that. And that just goes to show just, like, how much. How much is happening on the Chicago film scene and how exciting that is.

And, yeah, I just, like, want to keep showing more of, like, what. What's here in Chicago.

Stephanie Graham: 00:34:15

I think another thing that I love, too, when you go to, like, a film program like that, where these films have been selected for you, is that you sort of get forced to look at films that you might not usually see. Like, if you're not usually into, you know, documentary.

But there's a documentary film that's, like, in the middle of the program now, you know, you're watching documentary, it might, you know, excite you to watch more, you know, especially if you're not interested. So I really love that, especially like in shorts programs. Cause it's just always like, so different.

At least some of the ones I go to, they just like put like, this is about family films. But, you know, that's like so vague.

Danielle Scruggs: 00:34:51

Right, Exactly.

Stephanie Graham: 00:34:53

It could be about anything around family. And so you just get to see, like, yeah, just like all the stuff that folks are making.

I really love because I think because I'm like art department background, you know, seeing like, at the different levels of like, you know, production design that people have put into their films and stuff. And I just love that so much because, you know, like, when you work on, like, these big productions, like, the budgets are so insane.

And so when people have like, no budget or like, very small budget and you see like these beautiful projects, you're just like, wow, this is great. You know, like, you can always like, get down with like, you know, more with less, you know.

Danielle Scruggs: 00:35:29

Yeah, exactly. That actually reminded me of this. This film series I saw when I was in grad school. I think it was. It's like Dogma 95, I think.

I think that's the title of it. But it was. Or. Or it's based on those principles. But this. The movie was called the Five Obstructions.

So these different filmmakers who are, like, based all across the world, had to make a film but like, with these very, like within these very specific parameters. And like, they couldn't go outside those parameters.

And so you got to see, like, how all these different filmmakers approached limits and like, how they were able to, like, still make the film that they wanted in their style, but, like, in like, this very, like, kind of limited structure.

And I thought, like, oh, like, that's like, it's like a really good reminder that, like, even if you don't have, you know, like a Hollywood studio style budget, you can still make the story that you want.

And sometimes even like those constraints can kind of force you to be even more creative than you would have been with the bigger budget and everything.

Stephanie Graham: 00:36:33

Yeah, that reminds me of.

I remember maybe it was Canon, one of these big camera companies, they had given their latest camera to all these directors and they gave one to Hype Williams. And Hype was calling, like, all his, like, celebrity friends, like, hey, I need to, like, shoot this thing. You know, like, can you do something?

And they kept blowing him off. But then Hype turned the camera, like, on with his kid and like, Just showed his kid all day, like, with the camera.

And I thought it was, like, the best one, you know? Cause, like, I remember going to the screening to see, like, the depths of, like, all the things this thing that this camera could do.

And so they showed all these different filmmakers, but that was the one that stood out to me, was the one with his daughter. Or at least it was a kid. I think it was his daughter, but just a kid. A kid for sure. But I was like, that was so cute.

And, like, he had all the different, like, lens changing and all this stuff. And I'm like, you really did get to see the camera through, you know, through him doing it.

And it's like, see, you don't need all of these, like, celebrities to be in this project you did. You may do with your.

Danielle Scruggs: 00:37:33

With your kid. Right, Exactly. Yeah. It's just like, you know. Yeah. Again, shows, like, how constraint can kind of foster creativity.

Stephanie Graham: 00:37:41

Yeah. Well, I think the film symposium sounds lovely. I also love a symposium. Who doesn't?

Danielle Scruggs: 00:37:49

It has a nice ring to it, you know?

Stephanie Graham: 00:37:51

Yeah. It really sounds like, oh, man, I'm about to go to a symposium. Like, y' all can't get with me. Oh, my gosh.

But, like, also, you've been a photo editor at, like, places like Wall Street Journal, Getty Vox, espn, all these places. How do you think your editorial eye influences your work as a curator?

Danielle Scruggs: 00:38:16

Ooh, I love that question. I think it's because you're always kind of figuring out what the story is.

Cause, like, as a photo editor, you know, you're constantly reading everything that you're either photo researching for or commissioning a photographer for. You have to know what the story is.

And so you're constantly reading drafts and then also having conversations with reporters and editors about what's the core of this story, what's this about? And then kind of building the visuals around that.

And so I think it's kind of similar to curating because you also kind of have to know what story are you trying to tell. And.

And kind of instead of building visuals around that for a news story, you're building, like, a film program around, like, what you want the story. Like. Yeah, kind of. What story is it that you're trying to tell?

Stephanie Graham: 00:39:13

Sure. That's really. It like, keeps you on your toes. How do you balance all of it? Like, how do you balance, like, being. Cause you're a maker yourself.

Like, you do photography yourself.

Danielle Scruggs: 00:39:24

Yeah. I mean, lately I haven't. I've been really wanting to get back into, like, actually making photography. Again, Hopefully I get back into that soon.

Stephanie Graham: 00:39:33

Me too.

Danielle Scruggs: 00:39:33

Maybe we could be.

Stephanie Graham: 00:39:34

Accountability.

Danielle Scruggs: 00:39:35

I was just gonna say, like, I need someone to hold my feet to the fire.

Stephanie Graham: 00:39:37

I would really. Yes, I would love that. Okay. Side note.

Danielle Scruggs: 00:39:41

Accountability, buddy. Accountability, buddy.

Stephanie Graham: 00:39:43

Yes.

Danielle Scruggs: 00:39:46

But, yeah, that is a very good question. How do I. How am I balancing all of this out?

Stephanie Graham: 00:39:52

I know you're like a maker, curator, archivist, you know.

Danielle Scruggs: 00:39:56

Yeah, I mean, I guess, like, I guess I've always have kind of been that way of like, needing to have a lot of different things to work on. Cause, like, I feel kind of. Honestly, I feel kind of weird if I'm only doing one thing at a time. Like, I feel like.

Cause I feel like all those things kind of feed each other too. Like, you know, being a photographer, being a photo editor, being a writer, being a curator, like, all those things kind of feed each other.

And I think those things kind of. Hopefully they make me, like, all those things also make me stronger in each one of those things too.

Because I definitely feel like being a photographer made me a stronger photo editor and then vice versa. Working as a photo editor made me a stronger editorial photographer as well.

So I'm hoping that also working as a curator, working as a writer, all those things kind of feed each other and make the other things stronger.

Stephanie Graham: 00:40:52

What about when it's like with deadlines? Like, does that just make you even more crazy? Not that you're crazy, but, you know, like, is it like, does it make it like more crazier?

Like, if you have like a photo editorial that like, has a deadline, but maybe, you know, you have this thing for the film symposium coming up, like.

Danielle Scruggs: 00:41:10

Oh, yeah, I respect a deadline, actually. Deadlines. Having a deadline is actually so much more helpful for me than like something that's open ended.

Yeah, if something is open ended, I'm like, I mean, I'll try to get to it as best as I can, but if there's like a specific deadline of like, okay, like, this is happening on this date, we need it by 4pm this date. Like, yes, I got you. Okay, I can put that in my calendar. I can put that in my planner.

I can, you know, like, I can kind of stack everything out based on like, what I know my deadlines are.

But yeah, when something's kind of open ended, if people are just like, oh, give it to me whenever, then, whenever, it's just like, okay, so that's just not happening, Right.

Stephanie Graham: 00:41:50

I can't stand that. I had a friend in town who was like, oh, I'm gonna be in town Tuesday through Thursday, when is good for you to hang out?

And I like really snapped into like really thinking like, oh, okay, Tuesday, Wednesday, Thursday, you know, instead of like saying let's get together, let's get together soon, you know, like, I love a deadline as well.

Danielle Scruggs: 00:42:10

Yeah, you have something to plan around too. So it's like, you know, like. So. Yeah, that actually, it actually really helps me like see stay balanced and focused. So like having like multiple.

Even when they're like multiple deadlines kind of stacking up, like as long as like I kind of know where the road is heading, I'm like, okay, I can, I can do this.

Stephanie Graham: 00:42:31

Do you assign yourself deadlines and like, can you keep your own deadline? A self assigned deadline?

Danielle Scruggs: 00:42:37

Yes, I do.

Stephanie Graham: 00:42:38

Wow, that's impressive.

Danielle Scruggs: 00:42:40

Well, okay, so I don't always adhere to those deadlines, but.

But I do set my own deadlines for myself because it just again, like, if I have something to work towards, like, it just makes it easier to like kind of stay on track. Because like, for example, like I put out a monthly newsletter for black women directors.

Stephanie Graham: 00:43:00

Yeah.

Danielle Scruggs: 00:43:00

And I've made it so it should come out the first Friday of the month at like 7am and so knowing that I have that to work towards, like, kind of helps me like keep things organized for the most part. Sometimes I have had to say, okay, newsletters come in a couple weeks late because life.

Stephanie Graham: 00:43:21

Yeah.

Danielle Scruggs: 00:43:22

And this is not my full time job. But yeah, for the most part though, I do try to like set internal deadlines for myself too.

Stephanie Graham: 00:43:28

I love that. That's really cool that you can be. I try to set internal deadlines and it never happens.

It's always better when I have a friend that will say, show me this in two weeks. And I will be like, okay. Even if she's just over there like cooking dinner and just made up some deadline, I like really take it to heart.

I'm like, okay, two weeks. Got it.

Danielle Scruggs: 00:43:46

Right.

Stephanie Graham: 00:43:48

Do you have like a favorite film?

Danielle Scruggs: 00:43:50

Ooh, like of all time or like.

Stephanie Graham: 00:43:53

Oh, maybe. Yeah, all time or like top three, maybe any genre.

Danielle Scruggs: 00:44:00

Oh man. Well, I can tell you my letterbox. Top four.

Stephanie Graham: 00:44:05

Okay.

Danielle Scruggs: 00:44:06

Okay.

Stephanie Graham: 00:44:07

Okay.

Danielle Scruggs: 00:44:07

Oh yeah. So that's what I put in my top four. Cause it's really hard to choose what's a favorite film. But I put in Heat by Michael Mann.

Cause Michael Mann's like one of my favorite directors ever. Like love him down Chicago. King moonlight by Barry Jenkins.

Stephanie Graham: 00:44:26

Gorgeous.

Danielle Scruggs: 00:44:27

Just. Cause yeah, that whole movie is just like memorized. Like, I just love that movie so much. Eve's Bayou by Casey Lemons. Just.

Cause I. I revisit that movie a lot. Like, it's just so multilayered. And then I. Oh, and then Killer of Sheep by Charles Burnett.

Stephanie Graham: 00:44:47

Okay.

Danielle Scruggs: 00:44:48

Because he's another one of my absolute all time favorite filmmakers.

Stephanie Graham: 00:44:52

Are you a fan of Lifetime movies?

Danielle Scruggs: 00:44:56

It depends. It depends on what my mood is. Because sometimes, like, I'll watch a Lifetime movie and I'm like, okay, like, this happened.

But then I'll see, like, other movies, and I'm like, okay, that was ridiculous. But I was highly entertained the whole time. Yes.

Stephanie Graham: 00:45:12

That's what I love about them so much. And my mother loves Hallmark films.

Danielle Scruggs: 00:45:18

Oh, my mom does too. She loves Hall.

Stephanie Graham: 00:45:21

Oh.

Danielle Scruggs: 00:45:22

Like November through January, it just stays on Hallmark Channel.

Stephanie Graham: 00:45:28

My mom's like, I'm watching Christmas in July right now. And I'm like, oh, my gosh. It made me wonder. I know that that's like a TV movie, but I'm like, are there black women directing these?

I know, like, Vivica Fox had a Lifetime deal for a little bit, and gosh, I can't think of her name right now, but from Beverly Hills Housewives.

Danielle Scruggs: 00:45:48

Oh, Garcelle. Yes. I think they had.

Stephanie Graham: 00:45:50

Yeah, they were like, doing some, like, Lifetime deals, but yeah, it just made me. I don't know what that genre is, but I think it would be just. I call it just Lifetime genre.

Danielle Scruggs: 00:45:59

Yeah, it is like a very particular.

Stephanie Graham: 00:46:03

Yeah.

Danielle Scruggs: 00:46:03

Oh, there are of black women directors making Lifetime movies, right? Oh, actually there was. I think this was a Lifetime movie. The. The Clark Sisters movie.

Stephanie Graham: 00:46:13

That was so good.

Danielle Scruggs: 00:46:14

It was so good. And that was by, well, black woman director, but also a black woman director from Detroit.

Stephanie Graham: 00:46:20

Oh, okay.

Danielle Scruggs: 00:46:21

Christine Swanson.

Stephanie Graham: 00:46:23

Yes. Yeah, I believe so. Yeah. I think they directed an episode of pd, Actually, Chicago pd. Oh, yeah, yeah. Oh, okay, cool.

I'm gonna have to watch that one again.

Danielle Scruggs: 00:46:34

Yeah, that was. Yeah, that was a really good movie. And I actually got a chance to talk to her about that. We were on, like, a webinar, like, when.

Around the time that the movie was first released.

Stephanie Graham: 00:46:45

Oh, cool.

Danielle Scruggs: 00:46:47

Yeah, it was just, like, really cool that, like, she was able to bring, like, a lot of cultural specificity to that too, specifically because, like, not just because, like, she's a black woman, but also because, like, she's from Detroit as well.

So she, like, has, like, that kind of cultural memory there that, like, someone outside of Detroit or who's like, not a black woman, frankly, like, wouldn't quite understand.

Stephanie Graham: 00:47:07

Yeah.

Danielle Scruggs: 00:47:08

And that's not like a bad thing. Necessarily, it's not to say that, like, you. You have to be like, of the culture that's like the subject of the movie that you're directing.

But I think it helps a lot too.

Stephanie Graham: 00:47:22

Do you have any aspirations? Direct a film?

Danielle Scruggs: 00:47:25

Oh, yeah. People ask me that a lot, actually.

Stephanie Graham: 00:47:29

Yeah, I'm sure.

Danielle Scruggs: 00:47:32

I mean, so I've actually been on a set before, like as a unit stills photographer.

Stephanie Graham: 00:47:37

Right, right. Yeah.

Danielle Scruggs: 00:47:38

And did you like that? I mean, it was, it was definitely a learning experience. It was like a pretty steep learning curve, I have to be honest there. But.

But what, what that experience taught me and what it made me want really appreciate even more than I did before, that was like, just like, how, how many people it takes to make one film?

And just like, you know, there's multiple departments and like, there's like, there's, you know, multiple teams within those departments and like, everyone has to, like, kind of work in tandem and you have the director kind of like guiding the ship the whole time and like, they have to make so many decisions constantly. And so part of me is like, I don't know, do I have the temperament for that question mark?

I don't know, like, because, you know, like, it's not like, you're not just doing like, the artistic part of like, you know, guiding performances and like, you know, guiding the director photography, but it's like you're also like, you know, yeah, like, talking to the costume designer, talking to the set designer, talking to the producers, making sure you're staying on schedule, like, you know, talking to props and like, making sure that, like, you know, you have the right model car.

, like, this car is from like: 1970

So apologies for not being able to cite my sources properly. But.

But I saw this video and they were saying, like, you know, as an artist, like, as a creative, something you should be asking yourself is like, what's something that scares you creatively? And when I, when I saw that, I was like, the thought of making a movie terrifies me, so maybe that's something I need to lean into.

That was like my long winded answer saying, like, oh, I think I might want to try making a film because I think about film so much anyway in my own photography, so I was thinking. But, yeah, that was something that I realized when I was thinking about what's something that scares me creatively.

And I was like, ooh, making a movie scares me. So maybe I need to kind of lean into what's scaring me there.

Stephanie Graham: 00:50:08

I like the idea of maybe doing it as an exercise.

Danielle Scruggs: 00:50:12

Yeah. Like, not trying to have, like, any expectations of, like. Yeah. Getting into, you know, I'm gonna get into Sundance. It's like, slow your roll.

Just like. Yeah. Kind of do it as, like, a thought exercise. Like, is this something that I can do? First of all, it's like, do I.

Again, do I have the temperament for it? Like, maybe that isn't my medium, but, yeah, that is something I would like to try my hand at.

Stephanie Graham: 00:50:36

Yeah. And there's people that make films like, like, over a span of years, which is.

Always blows my mind because I'm so used to, you know, we're working on this film from, like, Monday through Saturday, and then that's it. Then the film is done.

But there's people that, like, I know filmmakers who might work with an actor, but they're like, oh, but the actor got married, so we're gonna get back to this in a little bit. And I'm like, what do you mean? Like, what does that even mean? Like, knock this out. You know, and they just take their time.

And, you know, Maybe they're like 12 person crews, but I'm always impressed by folks that do that. And then they actually come up with, like, a finished product, you know, something like, doesn't your actor.

Like, they can't, like, cut their hair or anything? Like, how does that work? But somehow they. They make it work. Yeah.

Danielle Scruggs: 00:51:26

Yeah. Which is like. Yeah, that's, like, fascinating to me, too.

Just like, how do you keep that level of commitment going over, like, that period of time, too?

Stephanie Graham: 00:51:35

Yeah. What's like, some of your favorite? So, like, the Black Harvest Film Festival.

Like, are there any other, like, film festivals that you enjoy that you, like, make sure that you go to?

Danielle Scruggs: 00:51:50

Well, the Chicago International Film.

Stephanie Graham: 00:51:53

Oh, sure, duh.

Danielle Scruggs: 00:51:53

Yeah, I really like going to that a lot. And then I've actually been to Tribeca before, which is, like, really? That was, like, another really cool film festival to go to.

I've actually never been to Sundance, so I really wanted to.

Stephanie Graham: 00:52:09

I've never been either. Yeah, that would be fun.

Danielle Scruggs: 00:52:12

But, yeah, I was trying to think if there was anything else. But those are. Yeah, those are the ones that kind of, like, Immediately stick out.

Stephanie Graham: 00:52:17

Is there. Oh, maybe there would be like a black women directors film festival. Have you ever thought to do something like that?

Danielle Scruggs: 00:52:23

Oh, yeah, you know, there's actually. There's a Denton black women Film Festival. I think it's like, Denton, Texas. Texas.

Stephanie Graham: 00:52:31

Texas. Okay. Oh, okay.

Danielle Scruggs: 00:52:33

And so. Yeah, I know. Like, there's that one and then there's like, oh, there's like this. This or this organization in LA called not your daddy's films.

And so they don't focus on. They focus on women and non binary filmmakers.

It's not like specifically like black women or women of color, but, like, I think, like, they're also doing like, really cool work too.

Stephanie Graham: 00:52:55

Oh, okay. Right on. So then maybe we don't need. You don't need to do one because it's already being done.

Danielle Scruggs: 00:53:01

Or I could do like, another one. Like, I don't have any qualms about putting another one out there.

Stephanie Graham: 00:53:06

Right. You. But you are. You do want to do like more of the file under horror, right? You want to do that again?

Danielle Scruggs: 00:53:12

Oh, definitely. Yeah. I really want to bring that to Chicago and just like, have it be, you know, here in my hometown and everything.

So, yeah, hopefully we can actually pull that off for this spooky season.

Stephanie Graham: 00:53:26

Yeah.

Danielle Scruggs: 00:53:27

So, yeah, I have to kind of finalize some details around that. But yeah, hopefully I can do that in Chicago very soon.

Stephanie Graham: 00:53:34

Randomly. Speaking of spooky season. Spooky. Speaking of spooky season, do you like haunted houses?

Danielle Scruggs: 00:53:42

Actually, no.

Even though I love horror movies, but, like, I've actually, I went to, like, a haunted house, like, kind of thing when I was a kid and I was like, this is crazy. I can't do, like, my nerves are too bad for me. Yeah.

Stephanie Graham: 00:53:57

They are too much.

Danielle Scruggs: 00:53:58

Like, it's one thing to see the scary thing on a screen, but it's another thing when it's like someone jumps out at you in real life and I'm like, what are you doing?

Stephanie Graham: 00:54:07

Yeah, I'm so scary that even Fright Fest I do not like. Cause they chase you at Frightfest, people.

Danielle Scruggs: 00:54:13

Oh, they chase you down.

Stephanie Graham: 00:54:14

Have you gone to Fright festival at Six Flags Great America?

Danielle Scruggs: 00:54:17

Oh, no, I never been.

Stephanie Graham: 00:54:19

Yeah, they will chase you. And they, they bring in, like, special effects makeup artists to, like, do people's face and everything.

Danielle Scruggs: 00:54:26

What?

Stephanie Graham: 00:54:27

And they will, like, be in the lines. Like, there'll be like, all these, like, ghosts and goblins in the lines and they try to, like, spook you. And I. That's another opportunity.

I will not go. I will not go because I Went one time just thinking, like, oh, I mean, it's. What's the. Like, it's just fright fest. Like, what is that?

Just some cobwebs, like on a roller coaster. But no, it was. It was next level. Oh, my God. It was such next level. I did not. I did not like that at all.

Danielle Scruggs: 00:54:53

I don't like the chasing thing. I'm like, oh, no. Slow your roll down.

Stephanie Graham: 00:54:57

Yes. They had people chasing, and, like, they had these guys that had, like, this weird makeup. It was just like. I can't even describe it.

Just like if you were some type of, like, horror special effects makeup artist, they just told you to go crazy. You go crazy.

And then they had knee pads on so they would chase you and then, like, slide on their knees so they might, like, like, say something like, slide in front of you. Like, they have a whole thing down. Like, you know, these people are just enjoying there. They're having the best time. But I am like, oh, no. Oh, no.

One time at the time, I went. They scared a lady out of her funnel cake, and her funnel cake dropped, and she was not happy. She was not.

Danielle Scruggs: 00:55:42

That's not funny.

Stephanie Graham: 00:55:43

But it's not funny. I was like.

Danielle Scruggs: 00:55:46

Cause it was like a long line.

Stephanie Graham: 00:55:48

You know, when she was, like, eating with her kids, he's like, slid past her. Oh, my goodness. Oh, my goodness.

Danielle Scruggs: 00:55:56

Oh, I'm trying not to laugh, because if that happened to me, I would be so upset. But that's really.

Stephanie Graham: 00:56:02

I was too mad for her, too.

Danielle Scruggs: 00:56:04

Cause I'm like, you know, y' all need to.

Stephanie Graham: 00:56:05

Need to quit playing up here. Y' all need to quit playing. Oh, my God.

So I have a lot of respect for the people who enjoy, you know, Halloween and know it's coming up, you know, spooky season coming in. You know, I respect y', all, but I bow out.

Danielle Scruggs: 00:56:20

Right? Like, I won't be over there.

Stephanie Graham: 00:56:22

Yeah. But, you know, you did encourage me hearing you speak about horror.

I think, you know, if we have the foul under horror in Chicago this month, you know, in October, coming up, I think I will check it out. You know, I'll be amongst others. And I think that would be, you know. Okay, nice. Oh, my gosh. Danielle.

So, like, where can we find more information about you? We can visit black women directors.

Danielle Scruggs: 00:56:50

Yes. Blackwomendirectors co. Best place to find out more about black women directors.

And then my personal site is daniellescruggs.com so you can find out more about me there as Great.

Stephanie Graham: 00:57:04

And then the Chicago Film Symposium.

Danielle Scruggs: 00:57:06

Yes. We have a website for that as well. So chicagofilmsymposium.com and yeah, you can find out more.

And we have our second symposium coming up on Saturday, November 1st.

Stephanie Graham: 00:57:18

That's gonna be wonderful. I'm looking forward to that.

Danielle Scruggs: 00:57:21

I'm really excited.

Stephanie Graham: 00:57:22

I'm really excited, too. I love that. Thank you so much for coming in here, sharing your insights.

And thank you so much for putting a resource like Black Women directors together.

Danielle Scruggs: 00:57:34

Oh, yeah. Well, like I said, thank you so much for having me. And it's been really great to talk to you about any and everything today. So, yeah. Thank you. Yeah.

Stephanie Graham: 00:57:44

Thank you. And thank you, Chicago. And we will see you soon. This has been another episode of Nosy af. I'm your host, Stephanie Graham.

What did you think about today's conversation? I would love to hear your thoughts. Head over to the Nosy AF website for all the show notes related to this episode. You can also find me on Instagram.

Tefanie Graham, what would you know? Or online@missgraham.com where you can sign up for my newsletter where I share exclusive updates about my studio practice as well as this podcast.

Until next time, y' all stay curious and take care. Bye, Sam.