It's been a twisty-turny path for me. I was studying to be a history professor, and then I left that, went to film school, and tried to be like my heroes, like, Spike Lee and Hal Hartly.
My heroes were people like Jim Jarmusch. Scorsese was my god. Spike Lee was exciting, doing exactly what we thought we were going to do: personal movies based in, and about, New York. My heroes were all participating in an economic model that was collapsing as I was finishing film school.
So many people - DPs, writers, and the assistants that go on to be directors and writers - come from the School of Spike Lee. He's almost set up an Institution of Spike Lee.
I'm from New York, and yet I've done only one film executive-produced by Spike Lee and have never done a film that Spike Lee directed. I've never done a film that Keenan Wayans has directed, or Bill Duke.
I don't know if it's really important, or intelligent even, when people say to me I'm a white Spike Lee, because they said to Spike Lee you're a black Woody Allen.
Everybody knows when you've got a role in a Spike Lee movie, you're gonna blow up. But I happen to be the only person who's had the lead in the two Spike Lee movies nobody saw.
What got me motivated was my dad's idea that I go to Morehouse College in Atlanta. It's an all-black, all-male school. Martin Luther King went there. The most famous person in my class was Spike Lee. And I really caught fire. I was so inspired by the people around me that I went from C's and D's to straight A's by the time I left.
'Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.
Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.
Me and Spike Lee are good friends. I got a lot of respect for Spike just because of who he is, what he stands for, and the support for that organization. Even when it was bad he was there.
'Fight Master' is a show that Spike came up with. Obviously, Spike has a vested interest in Bellator, which is filling a void that was created when the UFC and 'The Ultimate Fighter' left and went to Fox. I think this fills a huge piece of the puzzle for the folks at Spike, in terms of demographics and what programming they like to do.
I was playing a role and acting. But it was different than Spike Lee's movie. Spike can say 'cut' and move to the next scene. But I was pretending to be a white supremacist, one of them. I had to act like them to make the ruse a success.
I'm interested to see what happens to Spike Lee with limited resources, you know? I love Spike Lee's movies. But you know what? I kinda liked his movies when he used to scramble and fight more for them.
'Rent' was a special project for me. It was my first notable screenplay job. I worked with two wonderful directors on it, starting with Spike Lee in the summer of 2001. I wrote a draft for Spike and he was really good to me.
I'm connected to a Wesley Snipes, and I'm connected to Giancarlo Esposito because of the history of films that we've all been a part of with Spike Lee.
I'm so from the Woody Allen/Spike Lee school.
I felt a little anxious/nervous representing a real person in a Spike Lee film.