A Quote by Ving Rhames

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.
David Benioff can hardly be classified as an underdog. The 2002 film adaptation of his first novel, 'The 25th Hour,' was directed by Spike Lee and starred Edward Norton.
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.
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.
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.
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 felt a little anxious/nervous representing a real person in a Spike Lee film.
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.
Sometimes I've done small parts, like with Spike Lee, but it doesn't matter because you want to work with the director.
My favorite film is "Meshes in the Afternoon," a short avant garde film directed by Maya Deren. This was the first film that I saw that was actually directed by a woman.
The only distinction I'd make is between film and telly, I guess. "Film," "movies," and "cinema" are all synonyms as far as I'm concerned; but telly is different. It's just a plodding we've-done-this-scene, we've-done-that-scene and it never becomes this new other thing.
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.
I'm the wife Spike Lee deserves. A white woman, which he says he would never be with, so let's get someone really white. I am Spike Lee's wife from Hell. I'm white and weird and I won't pay enough attention to him. If he does any more of those angry interviews, I'm going to write him and see if he wants the wife he deserves.
My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.
My first feature film was a movie called 'A Gunfight,' with Kirk Douglas, Johnny Cash, Karen Black, Jane Alexander, Raf Vallone... It was shot in Santa Fe, Mexico, in 1970, and it was directed by Lamont Johnson. It was the first gig I did when I got to California from having done 'Hair' in New York on Broadway for a year. It was a Western, though! But that film was not a successful release.
I'd never been to Africa. This really was my first film [The Lost World]. I'd done 10 years of stage. I'd done a little bit of television. But this was my first film.
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