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My people, my people, what can I say say what I can. I saw it but didn't believe it I didn't believe what I saw. Are we gonna live together? Together are we gonna live?
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
Saws
Didn
Together
Live
Believe
People
Gonna
More quotes by Spike Lee
If you can't take a hit, you're not going to last long, that's for sure.
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It gets dangerous when you start allowing people to validate your work.
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Fight the power that be. Fight the power.
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It has been my observation that parents kill more dreams than anybody.
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When I went to school, you had to take art, you had to play an instrument. You had to play an instrument. But it's all degraded since then. I do not know what kind of nation we are that is cutting art, music, and gym out of the public-school curriculum.
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I don't dictate, you don't dictate to Stevie Wonder, not successfully.
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If you have a talented family, you should be shot if you don't use them.
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If we became students of Malcolm X, we would not have young black men out there killing each other like they're killing each other now. Young black men would not be impregnating young black women at the rate going on now. We'd not have the drugs we have now, or the alcoholism.
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There’s always been this hocus-pocus or magical, mystical thing associated with the making of film that sort of psyches people out and makes them think that this cannot be done that this is a craft that cannot be learned.
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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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Right now a lot of people are still choosing to go to Toronto instead of shooting in New York City, something I haven't done and something I hope I'll never have to do.
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I think if people looked at my body of work, they'd see a great breadth of work.
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'25th Hour,' like a lot of my films, takes place in New York City. I've been very fortunate to make films in the city that I live. I mean, it's great going home at night instead of being on location.
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I've been blessed with the opportunity to express the views of black people who otherwise don't have access to power and the media. I have to take advantage of that while I'm still bankable.
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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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Power is knowing your past.
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My grandmother lived to be 100 years old. Her grandmother was a slave, yet she was a college graduate in the Spellman class of 1917. She taught art for 50 years and she saved her Social Security checks for her children's education.
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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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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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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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