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Amongst black people, you have always heard it said that once a black man reaches a certain level, especially if you are an entertainer, you get a white trophy woman. I didn't make that up.

Spike Lee

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Spike Lee
Age: 67
Born: 1957
Born: March 20
Actor
Film Actor
Film Director
Film Editor
Film Producer
Mascot
Screenwriter
Television Actor
Television Producer
Atlanta
Georgia
Sheldon Lee
Shelton J. Lee
Shelton Jackson Lee
Mars Blackmon
Always
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Men
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Entertainer
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Woman
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More quotes by Spike Lee

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Everybody does what they want to do for their own specific reasons.
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We've got to turn this backward thinking around where ignorance is championed over intelligence. Young black kids being ridiculed by their peers for getting A's and speaking proper English: that's criminal.
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For me, I believe in God, God is real.
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If you can't take a hit, you're not going to last long, that's for sure.
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This film [Chi-Raq]is a declaration. It's a scream. It's a warning. And I can really break it down to one scene. That's the scene where we have the eulogy and sermon that is given by the great John Cusack.
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America doesn't have the moral right to tell other people what to do. To say the whole world has to fall into line is you-know-what. I hope more people will rise up.
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I'm an independent filmmaker with complete creative control of my films. I hire who I want. I have final cut. But at the same time, I go directly to Hollywood for financing and distribution. I find it's best for me to work within the Hollywood system.
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I think my work shows that I love women. I understand where these types of criticisms are coming from because black people have been so dogged out in the media, they're just extra sensitive.
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I used the principles of Kickstarter to make 'She's Gotta Have It.' We filmed that in 1985 to 1986. The final cost was $175,000. I didn't have that money. It was friends, grants, donations. We saved our bottles for the nickel deposit.
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Cause mo better makes it mo better.
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It comes down to this: black people were stripped of our identities when we were brought here, and it's been a quest since then to define who we are.
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I tend to favour films that have multiple plot and story lines, multiple characters and ensemble pieces.
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I don't like to use the word 'remake', I think reinterpretation is a better word. It's just a matter of respecting the source, and then trying to make your own film, and trying not to be inhibited by being so beholden to every single thing... We respect the source, but we make changes to it.
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There's a lot of Americans, black and white, who think that we've arrived where we need to be and nothing else needs to be done and affirmative action needs to be dismantled.
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I collect names for characters. Names are valuable they can be your first source of insight into a character.
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I'm trying to keep up with what's happening in this turbulent world.
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A spine to my films that's become more evident to me is that many are about the choices people make, and the reverberations of those choices. You go this way, or that way, and either way, there's going to be consequences.
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I think people who have faults are a lot more interesting than people who are perfect.
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You know that first of all your films have to make money no matter who you are.
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I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.
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