SPIKE LEE 1 FEBRUARY 1, 2006 8 P.M. THE O'CONNELL CENTER >>> GOOD EVENING. MY NAME IS BILLY HOLCOMB I HAVE THE DISTINGUISHED PLEASURE TO SERVE AS DIRECTOR OF BLACK HISTORY MONTH. I'D LIKE TO THANK YOU FOR COMING OUT FOR WHAT PROMISES TO BE A HISTORIC MONTH. NEGRO HISTORY BEGAN IN 1926, AN EVENT THAT WAS SET TO HONOR THE ACHIEVEMENTS OF BLACKS IN ALL ACADEMICS, ATHLETICS. IT WAS IN 1970 IT BECAME BLACK HISTORY MONTH AND THE BLACK STUDENTS ADOPTED BLACK HISTORY MONTH. I'M VERY HONORED TO PRESENT BLACK HISTORY MONTH IN 2006 CELEBRATION. THIS MONTH PROMISES TO BE MONUMENTAL EVERYTHING SUCH AS SPIKE LEE, DR. MICHAEL DYSON. THE FASHION EXCLUSIVE AND FEBRUARY 18th, 2006, GET READY. TO THIS EXTENT AS WELL, A DOCUMENTARY ABOUT A CIVIL RIGHTS AIRING NATIONALLY. TUNE IN TO CHANNEL 5. 2 WITHOUT FURTHER ADIEU I'D LIKE TO INTRODUCE TO YOU EVAN TYROLER. >> GOOD EVENING, MY NAME IS EVAN TYROLER, THE CHAIRMAN OF ACCENT SPEAKERS, FOR NEARLY 40 YEARS IT HAS HOSTED CONTROVERSIAL SPEAKERS AT THE UNIVERSITY OF FLORIDA. WE WANT TO SPARK CONTROVERSY OF THE STUDENT BODY. JUST LAST WEEK ACCENT HOSTED A STAR. DURING THIS TIME ANTHONY SHARED HIS UNIQUE PERSPECTIVE. EARLIER THIS YEAR, ACCENT HOSTED A FOUR-STAR GENERAL NATO COMMANDER AND FORMER PRESIDENTIAL CANDIDATE GENERAL WESLEY CLARK. TOMORROW NIGHT AT 8:00 P.M. AT THE UNIVERSITY AUDITORIUM, WE'RE BRINGING THE CREATOR OF THE HIT TELEVISION SHOW. TONIGHT, ACCENT SPEAKERS BUREAU PRESENTS AWARD WINNING PRODUCER, DIRECTOR, WRITER AND ACTOR, SPIKE LEE. HIS CRITICALLY ACCLAIMED FILMS HAVE EARNED HIM ON THE LIST OF GREATEST DIRECTORS OF ALL TIMES AND COUNTLESS FILM CRITICS ACROSS THE COUNTRY AFTER THE COMPLETION OF THE SPEECH, SPIKE 3 WILL ANSWER A FEW QUESTIONS FROM THE AUDIENCE AND TWO MICROPHONES LOCATED AT THE LEVELS OF GATE ONE. WE WOULD LOVE TO HEAR YOUR THOUGHTS ABOUT TONIGHT'S EVENT OR ACCENT IN GENERAL. PLEASE TAKE THE TIME TO LEAVE FEEDBACK AT OUR WEBSITE AT WWW.SG.UFL.EDU/ACCENT. OR ON YOUR WAY OUT, STOP BY OUR TABLE AT GATE ONE AND DROP YOUR INFORMATION THERE. ANY PERSON WHO LEAVES FEEDBACK WILL BE ENTERED S INTO A RAFFLE TO RECEIVED A SIGNED POSTER. IN ADDITION, I'D LIKE TO THANK BILLY HOLCOMB, THE EXECUTIVE DIRECTOR OF BLACK HISTORY MONTH AND DENISE FOR ALL THEIR HARD WORK AND STAFF. FURTHERMORE, I'D LIKE TO THANK THE ACCENT STAFF FOR ALL THEIR HARD WORK AND LOOK FORWARD TO WORKING WITH ALL OF YOU. AS PER REQUEST OF SPIKE LEE WE ASK NO PICTURES OR VIDEO BE TAKEN AFTER THE FIRST FIVE MINUTES OF PRESENTATION. PLEASE TAKE THIS TIME TO TURN OFF ALL CELL PHONES AND ELECTRONIC DEVICES. THANK YOU VERY MUCH. 4 WITHOUT FURTHER ADIEU, ACCENT SPEAKERS BUREAU OF THE UNIVERSITY OF FLORIDA PRESENTS TO YOU SPIKE LEE. >> THANK YOU. BEFORE WE GOT CRUSHED BY 33 POINTS LAST NIGHT. I WANT TO TELL YOU PEOPLE HELLO. FORMER ALUMNI HERE FOR THE KNICKS, WE'RE HAVING A HORRIBLE YEAR. SO I'M GLAD TO BE HERE IN THE STATE OF FLORIDA. WHO'S YOUR GOVERNOR? WHO'S YOUR BROTHER? I'M GLAD TO BE HERE. ALSO, THIS FINE UNIVERSITY. I WAS HERE, THEY SAY, IN 1990. I DON'T REMEMBER. BUT IT'S FITTING FEBRUARY, BLACK HISTORY MONTH, AND THIS IS THE FIRST DATE OF THE TOUR. IF YOU'RE AFRICAN-AMERICAN AND CAN PUT TWO WORDS TOGETHER YOU CAN HAVE A JOB TO SPEAK SOMEWHERE ON A CAMPUS OR UNIVERSITY. I STILL FEEL THERE'S THE NEED FOR BLACK HISTORY MONTH. 5 SO MUCH OF AFRICAN-AMERICAN CULTURE IS INTERTWINED IN THE CULTURE OF AMERICA. LAST YEAR, SOMETHING VERY PROFOUND HAPPENED TO ME. SCIENCE CAN BE A GREAT THING. THERE'S AN ORGANIZATION THAT OPERATES ON THE CAMPUS OF HOWARD UNIVERSITY, WHERE AFRICAN-AMERICANS CAN FINALLY FIND OUT WHERE THEY'RE FROM. THIS WAS A BIG MOMENT IN MY LIFE, BECAUSE GROWING UP IN BROOKLYN, NEW YORK, IT WAS A VERY DIVERSE NEIGHBORHOOD, BOROUGHS, I WAS ALWAYS ENVIOUS OF MY PUERTO RICOAN FRIENDS, WHO WOULD GO HOME TO PUERTO RICO SOMEWHERE ELSE, BESIDES GOING TO A DIFFERENT HOME, HAD A LANGUAGE. AND MY AMERICAN FRIENDS WOULD GO TO CICILY, THEY WEREN'T IN THE MOB. AND IRISH AMERICAN FRIENDS WOULD GO, PEOPLE WENT AWAY. THEY WENT BACK TO, AS YOU MIGHT SAY THE HOMELANDS. BUT FOR AFRICAN AMERICANS, WHERE DO WE GO? WE WENT DOWN SOUTH. MY PARENTS SHIPPED ALL OF US DOWN SOUTH, 6 LIKE A LOT OF AFRICAN AMERICANS MIGRATED NORTH, MY GRANDMOTHER IN, ALABAMA, AND I HAD A GRANDMOTHER WHO IS IN GEORGIA. SHE IS 99 YEARS OLD. SO, INSTEAD OF GOING TO AFRICA, I WAS GOING TO ALABAMA AND GEORGIA, BUT NOW BECAUSE OF THE NAME, AFRICAN-AMERICANS CAN FINALLY FIND OUT WHERE YOUR AN CESSERS ARE FROM. IT'S VERY SIMPLE, JUST GET A Q TIP, SCHWAB INSIDE YOUR MOUTH, SEND IT TO A LAB AND SIX WEEKS YOU KNOW WHERE YOU CAME FROM. I WAS VERY EXCITED. BECAUSE, UNLIKE ALEX HALEY, I CANNOT TRACE MY ROOTS BACK TO MILAN. BUT BECAUSE OF DNA, I CAN DO IT NOW. SO I WAS LATER TO FIND OUT THAT ON MY MOTHER'S SIDE, MY AN CESSERS NOW KNOWN AS SARA YOUNG AND ON MY FATHER'S SIDE ANCESTORS NOW KNOWN A CAMEROON. AS SOON AS I FOUND OUT, I CALLED INFORMATION, AND CALLED UP. THEY HAVE THIS EMBASSIES, AND TOLD THEM I WAS FROM THERE. SO THEY WERE HAPPY ABOUT THAT, AND GET THERE SOON. 7 I'VE BEEN TO AFRICA SEVERAL TIMES. OR HAVEN'T BEEN TO CAMEROON, SINCE I FOUND OUT. I THINK EVERYBODY SHOULD KNOW WHERE THEY'RE FROM. THAT'S ONE OF THE REASONS WHY AFRICAN-AMERICANS ARE SO SCHIZOPHRENIC, PEOPLE TALK TO AFRICAN AMERICANS BECAUSE WE WERE BROUGHT HERE AS SLAVES, STRIPPED OF OUR RELIGION AND OURLADGE. AND THAT'S PROBABLY THE WORST THINGS YOU CAN DO TO A PEOPLE A AND EVEN THOUGH WE MIGHT HAVE BEEN EMANCIPATED WITH PRESIDENT LINCOLN, WE ARE STILL FEELING -- THIS STUFF'S STILL WITH US AS A PEOPLE. I THINK THE COUNTRY ALSO. GROWING UP IN BROOKLYN, NEW YORK, I HAD NO IDEA I WANTED TO BE A FILM-MAKER. I WANTED TO PLAY SECOND BASE FOR THE NEW YORK METS. I WAS A METS FAN BACK THEN. BUT I WAS LUCKY ENOUGH TO REALIZE GENETICS WOULD NOT HAVE THAT. IN A WAY, THAT WAS A BLESSING. NOWADAYS, THERE'S TOO MANY YOUNG 8 AFRICAN-AMERICAN MEN WHO THINK THEY CAN PLAY PRO BALL. YOU HAVE A BETTER CHANCE OF HITTING THE LOTTERY THAN PLAYING PRO BALL. SO, I GOT THAT OUT OF THE WAY REAL QUICK. BUT EVEN WHEN I WENT TO COLLEGE, I STILL DID NOT KNOW WHAT I WANTED TO DO. IT WAS EXPECTED I WOULD GO TO COLLEGE BECAUSE MY FATHER AND A GRANDFATHER WENT TO MOORE HOUSE AND MOTHER AND GRANDMOTHER WENT TO SPELLMAN. I HAD TO GO TO MOORE HOUSE BUT I DID NOT KNOW WHAT I WANTED TO DO. IT WASN'T UNTIL THE SUMMER BETWEEN MY SOPHOMORE AND JUNIOR YEARS I REALIZED I HAD TO TAKE SOMETHING. AT THE END OF MY SOPHOMORE YEAR, I WAS GOING BACK HOME TO NEW YORK FOR THE SUMMER, I WOULD HAVE TO THINK LONG AND HARD AND DECLARE A MAJOR. I HAD EXHAUSTED ALL MY ELECTIVES. I WENT BACK TO NEW YORK. I'M GOING TO DATE MYSELF, IN THE SUMMER OF 1977. I DID NOT HAVE A JOB, THE CITY OF NEW YORK 9 WAS BROKE AND THERE WERE NO SUMMER JOBS. AT CHRISTMAS SOMEONE GAVE ME A SUPER 8 CAMERA. SO, INSTEAD OF PLAYING BASEBALL AND STICKBALL ALL SUMMER, I WENT AROUND NEW YORK CITY FILMING WITH THIS LITTLE CAMERA. WHAT'S SIGNIFICANT ABOUT THIS SUMMER, IT'S ONE OF THE MOST CRAZY SUMMERS EVER IN NEW YORK CITY, THE HOTTEST SUMMER EVER, AND THAT'S WHY THEY HAD A BLACKOUT. WHEN THE BLACKOUT OCCURRED THE BLACKS AND PUERTO RICANS WERE OUT I WENT OUT AND FILMED THAT. WITH EVERY BLACK, THERE WAS A BLOCK PARTY AND TURN TABLES TO THE STREET LAMPS, SO I FILMED THAT AND ALSO THE SON OF SAM, DAVID BERKOWITZ HAD THE CITY IN TURMOIL AND STARTED SHOOTING PEOPLE. I FILMED ALL THIS STUFF, DECIDED I WANTED TO BE A FILM-MAKER, WAS ABLE TO WITH ENCOURAGEMENT TO TEACH ME. HE ENCOURAGED ME TO CUT THIS RAW FOOTAGE INTO A FILM. NOW, GROWING UP IN BROOKLYN, NEW YORK, I WENT TO FILM BUT I DID NOT KNOW A FILM-MAKER. 10 EVEN GOING TO FILMS AT THAT TIME AND WATCHING TELEVISION THE AFRICAN-AMERICAN CULTURE, I LOOK OUT MY CORNER, STANDING IN A CORNER WAS NOT ON THE SCREEN. AND SO FOR MANY OF YOU PEOPLE WHO ARE VERY YOUNG, IT -- THE LANDSCAPE WAS MUCH DIFFERENT. THERE WAS ONLY ONE AFRICAN-AMERICAN DIRECTOR WORKING, HIS NAME IS MIKE, DIRECTED A LOT OF FILMS OF THE LATE RICHARD PRYOR. THAT WAS ABOUT IT. EDDIE MURPHY, WHOOPEE GOLDBERG, THAT WAS IT. AND SO, WHEN I TOLD PEOPLE I WANTED TO BE A FILM-MAKER, THEY LOOKED LIKE -- LOOKED AT ME LIKE I WAS CRAZY. NO ONE KNEW OF ANY AFRICAN-AMERICAN DIRECTORS MAKING FILMS. AT LEAST NOT IN HOLLYWOOD. AND THE REASON, I WAS VERY LUCKY TO HAVE A FOUNDATION, RELATIVES AND FAMILY WHO ENCOURAGED ME EVEN THOUGH THEY KNEW THAT THIS WAS REALLY VIRGIN TERRITORY, EVEN THOUGH YOU HAD PIONEERS EFFECTIVE SO AS MY PARENTS, THEN GRANDPARENTS, ENCOURAGED ME TO GO AHEAD AND 11 BE A FILM-MAKER. AND I'M VERY BLESSED BECAUSE I DID THAT. IT'S BEEN MY EXPERIENCE THAT PARENTS KILL MORE DREAMS THAN ANYBODY. I'M TALKING ABOUT THEIR CHILDREN'S DREAMS. TOO MANY OF MY CLASSMATES AT MOORE HOUSE NOW ARE OVERWEIGHT, BALD OTHER GOING THERE. DIVORCED, JUST UNHAPPY. THE MAIN REASON WHY THEY'RE IN THIS STATE NOW IS BECAUSE THEY CHOSE A PROFESSION WHICH REALLY WASN'T IN THEIR HEART, THEY REALLY WEREN'T PASSIONATE ABOUT BUT DID IT BECAUSE OF PARENTAL PRESSURE. PARENTS DON'T DO THIS ON PURPOSE. EVERY PARENT WANTS MORE FOR THEIR CHILD, SO THEREFORE, THEY THINK THAT BY MORE, THAT MEANS THEIR SON'S AND DAUGHTERS HAVE TO GET A REGULAR PAYING JOB, A JOB THAT PAYS EVERY TWO WEEKS, A LOT OF THESE BROTHERS AT MOOREHOUSE WERE THE FIRST OF THEIR FAMILY TO GO TO COLLEGE AND A LOT OF SACRIFICES WERE MADE. SO WHEN YOU TO TO MOOREHOUSE, MAN, DOCTOR, LAWYER, BUSINESSMAN, THAT'S WHERE DR. KING WENT. YOU GO TO YOUR PARENTS AND SAY, WHAT HAVE 12 YOU DECLARED FOR YOUR MAJOR, I'M THINKING ABOUT BEING AN ARTIST, WRITER, POET, SINGER, DANCER. UH-HUH! ME AND YOUR MOTHER DID NOT WORK OUR FINGERS TO THE BONE, WE'RE NOT TAKING OUT A SECOND MORTGAGE ON THE HOUSE SO YOU CAN WAIT TABLES AND DRIVE A CAB. SO UNLESS YOU CHANGE YOUR MAJOR, THAT COULD GET YOU A GOOD PAYING JOB WHEN YOU GRADUATE, YOU HAVE TO PAY FOR SCHOOL FOR YOURSELF. AND SO THESE BROTHERS, KNOWING THE SACRIFICE THEIR PARENTS MADE, SUCCUMBED TO PARENTAL PRESSURE AND CHOOSE SOMETHING WHICH THEY WERE NOT PASSIONATE ABOUT. THESE FOUR YEARS OR MORE, FOR THOSE WHO LIKE HANGING AROUND, FOR THOSE WHO WANT TO GRADUATE, THANK YOU, THIS IS THE TIME TO DECIDE WHAT IT IS THAT YOU LOVE AND NOT WHAT MAJOR AM I GOING TO CHOOSE TO MAKE ME THE MOST MONEY. THERE'S A BIG DIFFERENCE. YOU DO NOT WANT TO BE 10, 15 YEARS AGO, EXCUSE ME, FORWARD FROM NOW, REGRETTING THAT 13 YOU DID NOT FOLLOW WHAT YOUR HEART DESIRED. JAZZ MUSICIANS HAVE MANY, YOU KNOW, A LOT OF LANGUAGE, SLANG, THEIR TERM FOR "JOB" IS A SLAVE. I AM BLESSED I SAY MY PRAYERS EVERY NIGHT BECAUSE NOT THIS MANY PEOPLE ON THIS EARTH GET TO DO WHAT THEY LOVE. THE MAJORITY OF THE PEOPLE ON THIS EARTH GO TO THEIR GRAVE HAVING HATED THEIR JOB. AND YOU DO NOT WANT TO BE IN THAT POSITION. WHERE, BECAUSE OF YOUR FAMILY, YOUR CHILDREN, BECAUSE OF THE HOUSE NOTE, THE CAR NOTE, WHATEVER YOU HAVE TO PAY, YOU HAVE TO DRAG YOUR ASS OUT OF BED EVERY DAY AND GO TO A JOB THAT YOU HATE. YOU DON'T WANT TO BE THERE, THEY DON'T WANT YOU THERE, BUT YOU GO. YOU DO NOT WANT TO BE IN THAT POSITION. NOW IS THE TIME TO FIND OUT WHAT IT IS THAT YOU'RE PASSIONATE ABOUT. A PROFESSION WHERE YOU WOULD DO IT, YOU LOVE IT SO MUCH, THAT I WOULD DO IT FOR FREE. 14 THAT'S WHAT YOU HAVE TO FIND. THAT'S WHAT YOU HAVE TO BE, PASSIONATE ABOUT. I WAS LUCKY TO FIND THAT WITH FILM MAKING. IN A LOT OF WAYS, I LOOK BACK, A QUICK ASIDE, THIS COMING SUMMER WILL BE THE 20th ANNIVERSARY, "SHE'S GOING TO HAVE IT." THAT'S 20 YEARS AGO. [ APPLAUSE ] FOR THE LAST 20 YEARS, WE'VE MADE A FILM A YEAR. THIS MARCH 24th, MY FOURTH COLLABORATION WITH DENZEL WASHINGTON IS COMING OUT CALLED "DENZEL" WILLIAM, JODIE FOSTER, IS ABOUT A MAN THAT GOES ASTRAY, BECOMES A HOSTAGE SITUATION. THAT COMES OUT ON MARCH. ON AUGUST 29th, ON HBO, WE'RE WORKING ON THIS NOW, HBO THE 29th OF AUGUST WILL BE MY FEATURE DOCUMENTARY ON KATRINA. [ APPLAUSE ] IT'S CALLED "LEVEES BE BROKE" FITS IN WITH "HE GOT GAME" AND "SHE HATE ME" BUT ANYWAY -- BUT AGAIN, I'M DOING WHAT I LOVE. I ALSO KNEW THAT I DID NOT JUST WANT TO BE 15 CONFINED TO FEATURE FILMS. I'VE DONE FEATURE DOCUMENTARIES, MUSIC VIDEOS COMMERCIAL, SHORT FILMS. TO ME, IT ALL COMES UNDER THE UMBRELLA OF FILM MAKING. IT'S A DIFFERENT DAY NOW. WE'VE MAY SOME PROGRESS, OTHER AREAS, WE'RE GOING BACKWARDS. YESTERDAY, ACADEMY AWARD NOMINATIONS CAME OUT. I'M ELATED TERRENCE HOWARD GOT NOMINATED FOR BEST ACTOR IN A LEADING ROLE, A GREAT PERFORMANCE, AND "HUSTLE AND FLOW" BUT THE BIGGEST SURPRISE, I DON'T KNOW IF YOU KNOW THIS, BUT FOR BEST ORIGINAL SONG, YOU KNOW WHAT GOT NOMINATED? "IT'S HARD OUT HERE BEING A PIMP." THAT GOT NOMINATED FOR BEST SONG. I'M TURNING ON THE OSCARS JUST TO WATCH THAT. WHO'S GOING TO PERFORM THAT SONG? "IT'S HARD OUT HERE BEING A PIMP." WHAT'S THE REST? >> IT'S HARD OUT HERE BEING A PIMP. 16 >> IT'S HARD OUT HERE BEING A PIMP, TRYING TO -- TRYING TO PAY THE RENT, RIGHT? BEST ORIGINAL SONG. IT'S HARD OUT HERE TRYING TO BE A PIMP. THAT REALLY GOES RIGHT INTO IMAGES. RIGHT NOW, WE'RE AT A TIME, WHERE BECAUSE OF GANGSTA RAP, THERE'S BEEN A SUBDIVISION NOW CALLED PIMP RAP. HELD BY SNOOP. SELF-PROCLAIMED WORLD'S MOST PIMPDACIOUS PIMP. YOU EVER SEE -- WHAT DOES DON JUAN DO BESIDES HOLD THAT GOBLET? I WANT TO KNOW. AGAIN, I DON'T WANT TO DATE MYSELF BUT I'M GOING TO TELL YOU, I'M GOING TO BE 49 MARCH 20th. GROWING UP, THERE WERE PIMPS IN NEIGHBORHOOD BUT NO ONE GREW UP WANTING TO BE A PIMP. WE SAW, EVEN AFTER SUPER FLY AND THAT STUFF, THE MAC, NO ONE WANTED TO BE A PIMP. THAT IS DIFFERENT TODAY. YOU HAVE -- THAT IS -- THE PIMP AND PIMPTON HAS BEEN ELEVATED. 17 IT'S BEEN PUT DRESSED UP, IT'S BEEN PUT ON A PEDESTAL. WHEN WE WERE GROWING UP, YOU GOT MAD LOVE, IF YOU'RE A GREAT ATHLETE, YOU GOT MAD LOVE, IF YOU COULD TALK TO THE LADIES, KNOW HOW TO RAP, AND ALSO YOU GOT THIRD BUT NOT LEAST, YOU GOT MAD LOVE IF YOU WERE INTELLIGENT. IN FACT, YOU GOT MORE PROPS. THAT IT'S NOT THE CASE TODAY. [ APPLAUSE ] >> THAT'S ALL RIGHT. CRACK CHANGED EVERYTHING. CRACK -- FORGET ABOUT BEFORE CHRIST. IT SHOULD BE A. C., YEAH, B. C., BEFORE CRACK AND AFTER CRACK. CHANGE THE LANDSCAPE. TODAY, AND NOT JUST URBAN AREAS, IF YOU WERE A YOUNG AFRICAN-AMERICAN, WHO IS PURSUING YOUR ACADEMIC PATH, AND LATINO, ON A MUCH, MAYBE LOWER LEVEL, YOU ARE OSTRACIZED, RIDICULED, IF YOU SPEAK CORRECT ENGLISH, IF YOU COULD SAY ONE SENTENCE ABOUT ONE BEING PROFANE. YOU ARE OSTRACIZED, YOU'RE CALLED A "WHITE BOY," A "WHITE GIRL," A "SELLOUT," AN "OREO." 18 BUT, IF YOU'RE HANGING ON THE CORNER, HOLDING YOUR NUTS, DRINKING A 40, WHILE YOU SNORT A BLUNT, THEN YOU'RE BLACK, YOU'RE FROM THE HOOD, YOU'RE FROM THE STREETS, YOU'RE GHETTO, AND ULTIMATE Y YOU'RE GANGSTER. NOW, THAT'S JUST CRAZY. EXCUSE MY LANGUAGE. THERE WAS A TIME IN THIS COUNTRY THAT IF YOU WERE A SLAVE AND YOU GOT CAUGHT READING OR WRITING OR TEACHING SOMEONE TO READ AND WRITE, YOU WERE CASTRATED, HUNG, OR WHIPPED. AND THE -- ON A GOOD DAY, YOU MIGHT GET ALL THREE. EVEN DESPITE THAT, IF YOU KNOW HOW TO READ AND WRITE, NO ONE HAD TO TELL YOU, IT WAS YOUR DUTY TO PASS THAT ON. BECAUSE THE ANCESTORS KNEW EDUCATION WOULD BE ONE WAY TO GET OUT OF THIS BONDAGE. HOW IS IT IT'S AGAINST THE LAW FOR DECEDENTS AND SLAVES TO READ AND WRITE AND TODAY THAT'S LOOKED ON AS NOT COOL AND NOT HIP. IN THESE YOUNG MINDS, THEY'RE YOUNG MINDS, AND IN THEIR TWISTED PATHOLOGY, SOMEHOW THEY EQUATE ACTUAL INTELLIGENT -- EXCUSE ME THEY 19 EQUATE INTELLIGENCE WITH ACTING WHITE AND BEING OUT AS BEING BLACK. THAT'S JUST CRAZY. THAT STUFF IS AMPLIFIED AGAIN AND AGAIN THROUGH THE MEDIA. THROUGH THE MOVIES, THROUGH THE MUSIC. THE IMAGE RY OF THE MUSIC VIDEOS. ALL THAT STUFF. NO ONE GETS UPSET PIMPTON HAS BEEN ELEVATED ON A PEDESTAL. WELL, I SAW THIS COMMERCIAL FOR CHRYSLER AND SNOOP DOGG PLAYING GOLF WITH LEE IACOCCA. YOU HAVE IACCOCA TOOK CHRYSLER OUT OF THE ABYSS. I COULDN'T GET THE CORRELATION BETWEEN THE TWO. BUT AS YOUNG MINDS, WHAT ARE WE GOING TO DO TO START QUESTIONING THIS STUFF? NOW, AT SOME PLACES, PEOPLE ARE TRYING TO WISE UP. ESPECIALLY AFRICAN-AMERICAN WOMEN, WHEN IT COMES TO THE IMAGE RY AND IN A POLITICAL CONTENT OF MANY OF TODAY'S SONGS. I THINK WE'RE GOING TO COME TO A POINT, WHERE, I DON'T CARE ABOUT THE LYRICS, BUT THE 20 BEAT IS GOOD. THAT'S NOT GOING TO HOLD UP ANYMORE WHEN EVER THE WORD IS "BITCH" AND WHO, NO MATTER HOW GOOD THE BEAT IS. THEY'RE PUTTING THEIR FOOT DOWN. NELLIE TRIED IT AND UH-UH. WE AIN'T HAVING IT. SO, ALL THIS STUFF THAT'S REALLY STUFF WE TALKED ABOUT IN THE FILM "BAMBOOZLED," WHERE WE MADE THE COMPARISON BETWEEN YESTERYEAR AND TODAY. NOW, IT'S MUCH MORE SLICK. YOU DON'T HAVE TO PUT ON BLACK FACE AND HAVE A BLAZING FIRE TRUCK RED LIPS TO BE ON THE MINSTREL COON SHOW. A LOT OF RAPPERS, IT'S PATHETIC, THEY DON'T REALLY KNOW, THEY'RE COONING. COONING. [ APPLAUSE ] >> IF SOMEONE IS NOT FROM THIS EARTH, I DO BELIEVE THERE'S INTELLIGENCE, I MEAN, IT'S CRAZY TO THINK WE'RE THE ONLY INTELLIGENT BEINGS IN THIS UNIVERSE, BUT IF SOMEONE WAS NOT FROM HERE AND HAD WHATEVER YOU WANT TO CALL IT, AN 1093S AND HAPPENED TO PICK UP B. 21 E. T. UNCUT AND SAW THESE CRAZY BLACK FOLKS SHAKING THEIR BODY PARTS LIKE THEY'RE HAVING A FIT I DON'T KNOW WHAT THEY WOULD THINK. WHO ARE THESE PEOPLE? THESE SOME CRAZY ALIENS WE HAVE RIGHT HERE. BUT, AGAIN, WE'RE LAUGHING AT IT, BUT, YOU KNOW, IN A WAY, IT'S NOT REALLY FUNNY, BECAUSE AFRICAN-AMERICANS ARE KNOWN ALL OVER THE WORLD, REALLY, FROM THESE VIDEOS. IF YOU'RE AN AFRICAN-AMERICAN WOMAN, YOU GO SOMEWHERE IN THE WORLD, SOME GUYS CAN STEP UP TO YOU AND HE'S GOING TO GIVE YOU AN APPROACH YOU MIGHT NOT LIKE, BASED ENTIRELY ON WHAT HE SEES OF BLACK WOMEN IN THESE MUSIC VIDEOS. AND IT'S NOT JUST, WE CAN'T PUT ALL THE RESPONSIBILITY ON THE ARTIST, IT'S THE RECORD COMPANIES, THEY'RE MAKING MONEY BEHIND IT, TOO. THEY'RE PROMOTING IT, MANY OF THESE RECORD COMPANIES, I JUST KNOW FOR SURE, THEY BOUGHT THE SIGNING ARTIST, YOU HAVE TWO PEOPLE THAT CAN'T SPIT THE SAME THAT EQUAL LYRICAL TALENT, ONE WENT TO COLLEGE BUT ONE IS JUST 22 OUT OF PRISON. WHICH ONE IS THE LABEL GOING TO SIGN? EVEN FOR PEOPLE EVEN HEARD 50 CENTS, THE FIRST RECORD THEY KNEW HE HAD BEEN SHOT NINE, TEN TIMES, LIVED TO RAP ABOUT IT. YOU KNOW, THAT STUFF IS CRAZY. SO WHAT ARE WE GOING TO DO? ARE WE GOING TO START QUESTIONING THIS STUFF? I REFUSE TO LET MY ATTITUDE -- MY CHILDREN ARE NOT ALLOWED TO WATCH TELEVISION WITHOUT A PARENT BEING THERE. [ APPLAUSE ] I FEEL IT'S A CRIMINAL ACT TO HAVE A CHILD SIT DOWN IN FRONT OF THE TELEVISION UNSUPERVISED, AND I SPEAK FROM EXPERIENCE. I SLIPPED UP ONE TIME, MY DAUGHTER SAW A COUPLE OF BRITNEY SPEARS VIDEOS. AT AN IMPRESSIONABLE AGE OF 7 YEARS OLD. AND TRIED TO WALK AROUND WITH THE BELLY SHOWING ALL THE TIME. WE HAD TO SQUASH THAT REAL QUICK. WE HAD TO NIP THAT RIGHT, RIGHT IN THE BUD. BUT THOSE IMAGES, THAT'S WHAT GETS YOU. 23 WE ARE BOMBARDED BY IMAGES AGAIN AND AGAIN AND AGAIN. RADIO. TV. BILLBOARDS, MOVIES. AND THESE IMAGES DO MAKE A DIFFERENCE ON HUMAN BEHAVIOR. FIRST THINK THE UNITED STATES OF AMERICA, THE REASON WHY WE RUN THINGS, IT'S NOT BECAUSE WE HAVE THE MOST NUCLEAR ARMS, IT'S BECAUSE OF HOLLYWOOD, BECAUSE OF TELEVISION, BECAUSE OF MUSIC. THAT'S HOW WE BECOME A WORLD POWER. BY DICTATING WHAT PEOPLE THINK WHAT THEY WEAR, HOW THEY TALK. THAT'S WHY IT'S BEEN SO LONG FOR PEOPLE OF COLOR TO GET IN THOSE POSITIONS OF POWER. IN A LOT OF WAYS, HOLLYWOOD IS WAY BEHIND THE OTHER INDUSTRIES. LOOK AT SOMEBODY LIKE AMERICAN EXPRESS, YOU LOOK AT SPORTS, THERE'S NOT ONE AFRICAN-AMERICAN TODAY IN THE STUDIO POSITION THAT CAN GREEN LIGHT A FILM. NOT ONE. I'M NOT TALKING ABOUT ANY ACTORS? 24 WE KNOW DENZEL GETS 20 A MOVIE AND WILL AND HIS WIFE, 20 MILLION. PEOPLE WHO HAVE JOBS AT STUDIOS. OR THE NETWORKS, TOO. BROADCAST AND CABLE INDUSTRIES, THERE'S NOT ONE PERSON THAT'S IN THE ROOM WHEN DECISIONS ARE MADE, WHAT FILMS WE'RE GOING TO MAKE, WHAT FILMS AREN'T WE GOING TO MAKE? WHAT TV SHOWS ARE WE GOING TO MAKE, WHAT TV SHOWS WE AREN'T GOING TO MAKE. MGM HAD THE GREAT IDEA TO DO A FILM CALLED "SOUL PLAYING." THERE WAS NO ONE IN THE ROOM THAT SAY, WAIT A MINUTE. WAIT A MINUTE. LET ME GET THIS. AN AFRICAN-AMERICAN AIRLINE DECO PLANE, PINNING DECO COLORS, RIMS, 22 INCH RIMS ON THE TIRES, SOUL PLANE. GOES UP AND DOWN, DOWN THE HIGHWAY, SERVES FRIED CHICKEN SNOOP DOGG'S THE PILOT, CAMERA FILLED UP FROM THE SMOKE, I DON'T THINK THAT'S A GOOD IDEA. WE WERE NOT IN THE ROOM. THERE USED TO BE A SHOW CALLED "THE SECRET 25 DIARY OF DES PEIPER." SHORT-LIVED. THANK GOD. WE WERE NOT IN THAT ROOM. WE WOULD HAVE SAID, WAIT A MINUTE, LET ME GET THIS. A SITCOM THAT TAKES PLACE DURING SLAVERY. HAVE THERE BEEN ANY SITCOMS ABOUT HOLOCAUST? LET'S NOT COUNT "HOGAN'S HEROES." WE ARE NOT IN THE ROOM. WE ARE NOT I IN THE ROOM. SO THIS ALWAYS IS DANGER IS, BECAUSE YOU SEE DENZEL, HALLE BERRY, JAMIE FOXX, SAM JACKSON, MORGAN FREEMAN, IT SEEMS LIKE, OH, THEY'RE TAKING OVER. LET ME TELL YOU, THAT IS NOT THE CASE. YOU WOULD NOT BELIEVE HOW MANY REPORTERS CALLED ME AFTER SIDNEY GOT HIS LIFETIME ACHIEVEMENT AND HALLE AND THEN DENZEL. THE NEXT DAY, THERE WERE NOT ANY MORE AFRICAN-AMERICAN ACTORS WORKING BECAUSE OF THOSE OSCAR WINS. IT REALLY DOESN'T WORK LIKE THAT. AT THE SAME TIME, I REALLY CAN'T COMPLAIN 26 BECAUSE I'VE BEEN ABLE TO DO VERY MUCH WHAT I'VE WANTED TO DO. BUT WE WENT IN THROUGH THE BACK DOOR. AFTER FINISHING MOOREHOUSE, I WANTED TO FINISH MY EDUCATION IN FILM MAKING BECAUSE I HAD NOT REALLY LEARNED ENOUGH. I HAD TO FURTHER MY EDUCATION. SO WHEN YOU'RE AT THAT ., THERE'S TWO THINGS YOU CAN DO. YOU GO OFF TO HOLLYWOOD AND TRY TO WORK YOURSELF UP FROM THE MAILROOM, WHICH I WAS NOT GOING TO DO, OR YOU COULD GO TO -- THREE THINGS, BECOME AND INDEPENDENT FILM-MAKER OFF THE BAT OR GO TO FILM SCHOOL. I CHOSE TO GO TO FILM SCHOOL. I APPLIED TO THREE FILM SCHOOLS, NYU, UCLA, AND USC, BUT YOU HAD TO GET AN ASTRONOMICAL SCORE ON THE GRE. I DID NOT GET THAT'S ASTRONOMICAL SCORE, THEREFORE I WAS NOT ADMITTED. BUT YOU DO NOT HAVE TO ACHE THE GRE TO GET IN NYU THEREFORE I GOT IN. IT'S A SHAME THOSE SCHOOLS HAVE NOT CHANGED THAT POLICY, BUT TO LET A STANDARDIZED TEST BE THE MAJOR FACTOR, 27 ESPECIALLY IN ART SCHOOL, [ APPLAUSE ] >> ESPECIALLY IN ART SCHOOL, IT'S KIND OF TROUBLING. AND HERE'S THE THING ABOUT WHEN YOU GO TO GRADUATE SCHOOL FOR ART. WHEN YOU GO TO MED SCHOOL OR BUSINESS SCHOOL OR LAW SCHOOL, WHEN YOU TAKE A TEST, MAYBE ESSAYS, THERE'S A RIGHT ANSWER AND WRONG ANSWER. WHEN YOU'RE A GRADUATE OF FILM SCHOOL OR DRAMA SCHOOL, NOW, YOU GET INTO TASTE. SO THERE'S REALLY NO RIGHT AND WRONG. YOU HAVE TO HAVE AN IMAGE ON THE SCREEN. BUT IT GETS TRICKY, BECAUSE YOU -- IN FILM SCHOOL, YOU GET GRADED, YOU DON'T TAKE TESTS. YOUR TEST, YOU GET GRADED ON YOUR FILM. AND YOU CAN BE A VERY GOOD FILM-MAKER OF A VERY GOOD FILM. IF THE TEACHERS AREN'T FEELING IT, THAT'S YOU. SO TRADITIONALLY NYU, THEY LET IN 150 PEOPLE THE FIRST YEARS OF THE THREE-YEAR PROGRAM AT THE END OF THE FIRST YEAR, THEY REVIEW THE STUDENTS AND SLICE THE NECKS OF HALF OF THE CLASS. 28 SO, MY FILM WAS A FILM CALLED "ANSWERS ABOUT A YOUNG AFRICAN-AMERICAN SCREENWRITER DIRECTOR'S HARD TO DIRECT REMAKE OF BIRTH OF A NATION. IN THIS FILM, WE REALLY TOOK A TACT AT SOMEONE CONSIDERED THE FATHER OF CINEMA, IF YOU HAVE NOT SEEN "BIRTH OF A NATION," YOU DO NOT KNOW OF IT. THIS FILM IS STILL CONSIDERED ONE OF THE GREATEST FILMS EVER. BUT A LOT OF TIMES, THIS FILM WAS USED AS A RECRUITING TOOL FOR THE INCLUDE KLU KLUX KLAN. THEY KICKED ME OUT OF SCHOOL BUT MADE THE MISTAKE OF MAKING ME A T.A. FOR THE COMING YEAR BEFORE THE EVALUATIONS CAME IN, SO THAT'S HOW I WAS ABLE TO STAY IN SCHOOL. FROM THERE, TWO MORE YEARS, THAT'S WHEN I DID A FILM CALLED "JOE'S BEDSIDE BARBER SHOP" WHICH WON THE STUDENT ACADEMY AWARD AND REALLY GOT ME ON MY WAY. THE KEY THING AT NYU, I HOOKED UP WITH A GREAT CINEMATOGRAPHER, ERNEST DICKERSON HE WENT TO HOWARD UNDERSTAND GRAD AND WE BOND EASILY BOTH FROM HISTORIC BLACK COLLEGES AND 29 BOTH OF US HAD BEEN INSTILLED BY PARENTS THIS THING, THAT TO BE SUCCESSFUL AS AN AFRICAN-AMERICAN, YOU HAVE TO BE TEN TIMES BETTER AS YOUR WHITE COUNTER PART. MY MOTHER WAS TELLING ME THAT FROM DAY ONE. IT IS NOT FAIR, IT IS NOT RIGHT BUT THAT'S JUST THE WAY IT IS. IF YOU THINK YOU CAN BE SUCCESSFUL IF YOU'RE A PERSON OF COLOR AND YOU'RE GOING TO BE JUST AS GOOD AS, THAT'S NOT GOING TO MAKE IT. YOU GOT TO BE BETTER. MY MOTHER PASSED, BUT WHEN I WOULD GO DOWN SOUTH FOR THE SUMMER AND WRITE HER LETTERS, SHE WOULD SEND LETTERS BACK MARKED UP. AND WITH RED INK SO IT LOOKED LIKE SHE HAD SPLIT HER WRISTS, AND EVERY GRAMMATICAL ERROR, SHE POINTED OUT. WHEN I WOULD GET A TEST, I'D BE HAPPY WITH A B, SHE WOULD SAY, YOU KNOW WHAT, I'M HAPPY YOU GOT A B, YOU GOT TO GET BETTER, I BET THE JEWISH KIDS ARE GETTING As AND A PLUSES. SHE WAS REAL. AT THE TIME, I DIDN'T UNDERSTAND WHAT SHE 30 WAS TALKING ABOUT, I WAS LIKE, GIVE ME A BREAK. BUT SHE WAS ON MY ASS. EVERY DAY. BECAUSE IT WAS MY NATURE AT THAT TIME TO SLIDE BY JUST DO JUST WHAT THE TEACHER ASKS, DON'T DO ANYTHING MORE. BUT SHE STAYED ON ME. AND MY GRANDMOTHER. MY GRANDMOTHER, WHERE I WANT TO GET BACK TO MY GRANDMOTHER. MY GRANDMOTHER'S 99 YEARS OLD. SHE PUT ME THROUGH MOOREHOUSE AND NYU GRADUATE SCHOOL. SHE'S NOT A RICH LADY MONETARY SPEAKING. SHE TAUGHT ART FOR 55 YEARS, SAVED HER SOCIAL SECURITY CHECKS TO SEND HER GRANDCHILDREN TO COLLEGE, ME BEING THE FIRSTBORN, I WAS THE FIRST ONE TO GET THE MONEY. BUT EVEN WHEN I NEEDED MONEY FOR MY FILMS, SHE WOULD GIVE ME THE LITTLE MONEY SHE HAD. WHEN I TOLD HER I WANTED TO BE A FILM-MAKER, SHE SAID I DON'T KNOW NOTHING ABOUT NO FILM MAKING. 31 IF THAT'S WHAT YOU WANT TO DO, I'M BEHIND YOU. SO OFTEN WHEN YOUNG PEOPLE HEAR PEOPLE SUCCESSFUL YOU DON'T GET CHANCE TO HEAR, SOMETIMES THEY DON'T WANT TO TELL YOU THE HARPS THEY WENT THROUGH TO GET TO THE SPOT THEY -- HARDSHIPS THEY WENT THROUGH TO GET TO THE SPOT THEY ARE. TOO MANY PEOPLE THINK THEY CAN WALK OUTSIDE, STAND ON THE CORNER AND THEY WILL GET STRUCK WITH A BOLT OF LIGHTENING AND BE SUCCESSFUL, IT DOESN'T WORK LIKE THAT. YOU CAN BELIEVE ALL THE REALITY SHOWS YOU WANT TO BUT THE YOUNG PEOPLE THAT WILL BE SUCCESSFUL ARE THE ONES THAT WORK AT IT. IT WON'T HAPPEN BY HANGING AROUND THINKING SOMETHING IS GOING TO HAPPEN. IT DOES NOT WORK LIKE THAT. AN EXAMPLE, FOUR YEARS AT MOOREHOUSE, ANOTHER THREE YEARS AT NYU, THEN IT TOOK ME ANOTHER FOUR YEARS TO GET MY FIRST FILM MADE. I JUST ROLL OUT OF BED AND DIRECT A TIME LIKE MALCOLM X, WE HAD TO PUT IN THOSE HARD HOURS, DAYS, YEARS BEFORE THEN. IT WAS EASY BECAUSE I FOUND WHAT IT IS 32 THAT I LOVED. AND FOR ME, THE CULMINATION OF THAT, EVEN THOUGH PEOPLE ASK ME ALL THE TIME, I AM GOING TO ASK THIS QUESTION NOW, I MIGHT BE TAKING SOMEBODY'S QUESTION. SO, SPIKE, OF ALL THE FILMS YOU MADE, WHICH ONE IS YOUR FAVORITE? I'M SORRY IF I TOOK SOMEBODY'S QUESTION, BUT HERE'S THE ANSWER. MANY FILM-MAKERS LOOK AT THEIR FILMS AS THEIR CHILDREN, AND IF YOU ASK A PARENT THE SAME QUESTION, THEY WOULD SAY THEY LOVE ALL THEIR CHILDREN EQUALLY. BUT UNDER THE COVER OF DARKNESS, IN THE MIDNIGHT HOUR, IF THEY'RE BEING HONEST, MOST PARENTS WILL SAY I LOVE ALL MY CHILDREN EQUALLY, BUT I MIGHT LIKE ONE MORE THAN THE OTHER. AND, FOR ME, EVEN THOUGH ALL THE FILM WAS IMPORTANT AND THEY ALL WERE STAGED IN DEVELOPMENT, FOR ME, EVERYTHING CAME TOGETHER ON MALCOLM X. [ APPLAUSE ] AND THE UNSUNG HERO OF "MALCOLM X" IS A MAN NO LONGER WITH US, HIS NAME IS MARVIN WORTH, THE MANAGER OF 33 LEGENDARY COMEDIAN LENNIE BRUCE AND BOUGHT THE RIGHTS FROM THE LATE GREAT ALEX HALEY AND THE LATE GREAT DR. BETTY S H E B A Z, MALCOLM'S WIDOW. THEY WERE GOING TO MAKE THIS FILM A LONG TIME. AT ONE TIME, RICHARD PRYOR WAS GOING TO MAKE "MALCOLM X," FINALLY, THEY GOT DENZELL AND NORMAN WAS SCHEDULED TO DIRECT THE FILM, AND THEN I GOT ON. IN DOING THAT FILM, DENZEL AND I, WHEN IT GOT OUT WE WERE DOING A FILM, WE COULD NOT GO ANYWHERE WITHOUT BLACK PEOPLE REMINDING US, DO NOT MESS THIS UP J. DO NOT MESS "MALCOLM X" UP. WE USED TO JOKE, DO YOU HAVE YOUR PASSPORT ON YOU SO WE COULD LEAVE THE COUNTRY, GET OUT REAL QUICK. BUT THE REASON WHY DENZEL'S PERFORMANCE IS SO RIVETTING, DENZEL HAD PLAYED "MALCOLM X" IN AN OFF BROADWAY PLAY "WHEN CHICKENS COME HOME TO ROOST" EARLIER. WHEN HE DECIDED TO DO THE FILM, HE TOLD HIS AGENT, I'M NOT GOING TO DO ANY MORE JOBS. HE TOOK A YEAR OUT OF HIS LIFE. 34 I'M NOT GOING TO DO ANYTHING ELSE EXCEPT PREPARE FOR THE ROLE. HERE'S THE THING ABOUT GREAT ACTORS. GREAT ACTORS UNDERSTAND WHEN YOU'RE PLAYING SOMEBODY WHO LIVED, WHO WALKED THIS EARTH, IT'S NOT ABOUT IMPERSONATING SOMEONE. I'M GOING TO BE HONEST, TRY TO BE NICE NOW, WILL SMITH AND ALLEY, THAT WAS AN IMPERSONATION. DENZEL UNDERSTOOD, AND NO DISRESPECT TO WILL, DENZEL UNDERSTOOD THAT IS NOT ABOUT IMPERSONATION. YOU JUST CAN'T LOOK -- IT'S NOT JUST ABOUT THE LOOK, YOU HAVE TO SHOW REINCARNATION OF THAT PERSON, HIS SPIRIT. HIS ESSENCE, NOT JUST ABOUT, OH, HE LOOKED LIKE MALCOLM. UH-UH NOT JUST ABOUT THE VOICE. SO DENZEL, AS I SAID BEFORE, PREPARED THE WHOLE YEAR, CUT OUT PORK. HOW CAN YOU PLAY MALCOLM X STILL EATING SWINE? CAN'T DO IT. MALCOLM'S A DEVOUT MUSLIM. 35 YOU CAN'T BE EATING PORK PLAYING MALCOLM X. YOU CAN'T DRINK EITHER. STUDIED THE KORAN, TRIED TO BE WELL VERSED IF NEEDED TO SPEAK. DENZEL KNEW IF HE ARRIVED AT A PLACE, THEN MALCOLM'S SPIRIT WOULD COMING THROUGH HIM. I'M A WITNESS, I WILL SWEAR ON A STACK OF TEN BIBLES, I AS A WITNESS TO THE ESSENCE OF MALCOLM FLOWING THROUGH DENZEL. MANY TIMES, WHILE HE SHOT THAT FILM, WE HAD TO PINCH OURSELVES BECAUSE WE WERE SEEING MALCOLM. ESPECIALLY FOR THE SPEECHES. EVERY SPEECH IN THAT FILM, WE DIDN'T MAKE UP THOSE SPEECHES, THOSE ARE THE ACTUAL WORDS MALCOLM WROTE AND SPOKE. SO LET'S SAY A SPEECH IS THREE PAGES, THREE PAGES MAYBE GIVES YOU SEVEN MINUTES. THE CAMERA ROLLS GIVE YOU TEN MINUTES. I'M LOOKING UP, SEEING DENZEL PERFORM, I'M LOOKING AT THE SCRIPT, HE'S ABOUT TO COME TO THE END OF HIS SPEECH, I'M GETTING READY TO YELL "CUT," HE KEEPS GOING. AND EVERY SINGLE WORD IS ON . 36 HE'S STILL IN CHARACTER. KEEPS GOING, THE FILM RUNS OUT, I CALL "CUT" BECAUSE NO MORE FILM IN THE CAMERA. I SAID, DENZEL, YOU KNOW, WHAT ARE YOU DOING? SAYS, SPIKE, I DON'T KNOW. HE DIDN'T KNOW. THE SPIRIT OF MALCOLM WAS WITH HIM. WHEN WE ENCOUNTERED FINANCIAL DIFFICULTIES WITH THE FILM, THERE ARE MANY STORIES ABOUT WHAT HAPPENED. HERE'S THE WHOLE STORY. WARNER BROTHERS NEVER WANTED THIS FILM TO BE THE LENGTH IT WAS. WE KNEW THAT. FOR A MAN LIKE MALCOLM, WHO HAD SO MANY -- WHO WAS REALLY SO MANY PERSONS, AS HE MADE TRANSFORMATIONS THAT EVOLVED, YOU NEED TIME TO TAKE THE SHOW MALCOLM LITTLE, DETROIT RED, TO WHERE HE EVOLVED, WHEN HE WAS ASSASSINATED IN HARLEM. YOU CAN'T DO THAT IN TWO HOURS. WARNER BROTHERS SAID, WE'RE NOT GIVING YOU TWO HOURS. AT THE TIME, OLIVER STONE WAS GETTING 37 READY TO COME OUT WITH "J. K." THAT WAS A ONE WARNER BROTHERS FILM. I ASKED THEM, HOW LONG WAS J. K.? >> TWO HOURS. I SAID, HOW LONG WAS J. K. SPIKE, IT WAS TWO HOURS. DON'T TELL THEM I SAID SO. WAIT A MINUTE. IT'S GOING TO BE THIS LENGTH. IN ORDER TO PUT THE GUN TO MY HEAD, AND CUT THE FILM, THEY LET THE BOND COMPANY TAKE OVER THE PICTURE. HERE'S WHAT A BOND COMPANY IS. IT'S LIKE AN INSURANCE COMPANY. THEY'RE HIRED BY THE FILM COMPANY, SO IF THE FILM GOES OVER BUDGET, THEY SNATCH IT FROM THE FILM-MAKER, AND RUN IT. THEY'RE PAID A FEE AND IF THE FILM GOES OVER BUDGET, THEY'RE RESPONSIBLE FOR ALL THE OVERAGES. WARNER BROTHERS LET THE BOND COMPANY TAKE OVER THE FILM. SO THEY TRIED-YOU KNOW, WE STILL HAD TO GO 38 TO AFRICA TO SHOOT WHEN DENZEL DOES HIS HAGE. WE PLANNED TO HAVE THIS SCENE SHOT IN THE SAHARA DESERT. WE STILL WANT TO SHOOT HIM IN EGYPT IN THE SPINX, GOING DOWN THE NILE. THE BOD COMPANY COMES, WE SHOOT ON THE JERSEY SHORE IN JANUARY, GO TO NEW YORK, WRAP UP SOME BLACK PEOPLE, PUT THEM IN WHITE SHEETS AND HAVE THEM MARCH. WE'RE NOT DOING THAT. THERE WAS A STALEMATE, AND THEN THE BOND COMPANY SENT REGISTERED LETTERS, EVERYBODY WAS ON THE PAYROLL IN POST-PRODUCTION, WE FINISHED SHOOTING FOR THE AMERICAN PART, STILL YET TO GO TO AFRICA. WE HAD TO SHOOT MENDEL AND THAT TYPE OF STUFF. THEY FIRED EVERYBODY. SO, HERE WE ARE, HE HAD NO MONEY TO FINISH THE FILM. WARNER BROTHERS NOT EVEN CALLING US, JUST LET THE BOND COMPANY TAKE OVER EVERYTHING. AND I HAD NO MONEY BECAUSE MY FULL SALARY HAD GONE INTO THE FILM. IN DOING THE FILM, I HAD BECOME A STUDENT 39 OF MALCOLM. ONE OF THE GREAT THINGS I GOT FROM MALCOLM X, HE TALKED ABOUT SELF-RELIANCE AND SELF-DETERMINATION AMONGST AFRICAN-AMERICANS. I BEGAN TO THINK ABOUT THAT. HOW ARE WE GOING TO GET OUT OF THIS PREDICAMENT? I KEPT GOING BACK TO MALCOLM'S SELF RELIANCE AND SELF-DETERMINATION I SAID, I DO KNOW ANY RICH AFRICAN-AMERICANS? I KNOW A COUPLE. I MADE UP A LIST. OF AFRICAN-AMERICANS WHO HAVE SOME MONEY. NOW, THIS WAS STICKY, BECAUSE THE MONEY I WAS AFTER HAD TO BE A GIFT. THEY COULD NOT GET A PIECE OF THE FILM. SO THEY WERE NOT INVESTING IN THE FILM PER SE, IT WAS ALSO NOT A TAX WRITE-OFF, THIS HAS TO JUST BE, WRITE A CHECK, A GIFT. SO I MADE THE LIST. BUT IT TOOK ME ANOTHER TWO WEEKS TO GATHER UP THE COURAGE TO MAKE THOSE PHONE CALLS. BECAUSE I HATE ASKING PEOPLE FOR MONEY. SO THE FIRST PERSON I CALL IS BILL COSBY. 40 SO EVEN BEFORE I GOT REALLY GETTING IN MY-YOU KNOW, I SAID, HOW YOU DOING? HOW'S CAMILLE? >> HOW MUCH YOU NEED, SPIKE? SO, SINCE THIS IS MY FIRST CALL, I DON'T WANT TO BE GREEDY BECAUSE I -- REALLY, I'M BEGGING, I GOT MY HAT IN MY HAND, I NEED MONEY, CAN YOU HELP ME OUT? I TOLD BILL THE AMOUNT. HE SAID, SPIKE, I COULD DO THAT. HE SAID, GIVE ME A FEDEX ADDRESS. NAW Y I COME GET IT TO YOU FOR MYSELF. I WENT TO HIS HOUSE, BOOM, BOOM, RAN TO THE BANK, DEPOSITED THE MONEY. I WAS FEELING GOOD NOW. I'VE GOT THE FIRST PERSON ON THE LIST. I'M GETTING THE ORDER MIXED UP, BUT THERE WAS JANET JACKSON, PRINCE, TRACY CHAPMAN, THERE'S AN AFRICAN-AMERICAN WOMAN EDUCATED OUT OF D.C. PEGGY COOPER KAFRITZ. I'M LEAVING SOMEBODY OUT. MISS WINFREY. CAN'T DO THAT. THIS IS BEFORE SHE WAS A BILLIONAIRE, TOO. 41 AND SO, DOWN LIKE THE LIST IS, YOU KNOW, DWINDLING. BECAUSE I DON'T WANT TO BE TOO GREEDY. I CALLED UP MAGIC, I WAS DOWN AT THE END OF THE LIST AND MAGIC CAME THROUGH. SO THE LAST CALL WAS TO MICHAEL JORDAN. HIS NICKNAME IS "MONEY." OR M. J. ONE THING I LEARNED FROM BEING AROUND MICHAEL VARIOUS YEARS, DOING COMMERCIALS, MIKE CAM IS A VERY COMPETITIVE PERSON. SO I TOLD HIM HOW MUCH MAGIC GAVE. [ APPLAUSE ] AND MICHAEL DID NOT DISAPPOINT. HE CAME THROUGH. SO WE HAD GOTTEN THIS MONEY. WITH THIS MONEY, WE'RE ABLE TO FUND OUR STAFF AGAIN, AND CONTINUE TO WORK ON THE FILM. THERE WAS NO COMMUNICATION BETWEEN OURSELVES AND WARNER BROTHERS. THEY PROBABLY THOUGHT I WAS FUNDING THE WHOLE THING. ON MALCOLM'S BIRTHDAY, WE CHOSE THAT DATE TO MAKE THE ANNOUNCEMENT THAT THESE PROMINENT 42 AFRICAN-AMERICANS, WE HAD THE ANNOUNCEMENT AT THE SHAWN BERG LIBRARY IN HARLEM, MADE THE ANNOUNCEMENT THESE PROMINENT AFRICAN-AMERICANS CAME TOGETHER WITH THE CONTINUATION OF THE POST-PRODUCTION FOR "MALCOLM X" AND THESE INDIVIDUALS STEPPED FORWARD SO THE FILM COULD GET TO THE THEATERS THE WAY WE INTENDED IT TO BE. [ APPLAUSE ] >> THE VERY NEXT DAY, THE VERY NEXT DAY, WARNER BROTHERS STARTED FUNDING THE FILM AGAIN. AND WE CAME OUT THAT NOVEMBER. AND AGAIN, SINCE THE NOMINATIONS CAME OUT YESTERDAY, I BEGAN TO THINK ABOUT "MALCOLM X" AND HOW DENZEL WAS SNUBBED FOR THAT AWARD. [ APPLAUSE ] BUT DENZ AND I HAVE TALKED ABOUT THAT, YOU CANNOT EVER BE IN A PLACE WHERE YOU ALLOW ANY ORGANIZATION, ANYBODY, GIVE THEM THE POWER TO VALIDATE YOUR WORK. YOU HAVE TO KNOW -- [ APPLAUSE ] >> HIS PERFORMANCE IS ONE OF THE GREATEST PERFORMANCE EVER. IT'S NOT ANY LESS BECAUSE HE'S NOT -- DID NOT WIN THE BEST ACTOR THAT YEAR. 43 MANY PEOPLE HAVE NOT WON. THE THING ABOUT THE ACADEMY, IN CLOSING SINCE WE ARE IN ACADEMY SEASON, IS SO OFTEN, WHEN YOU DO WIN, IT'S NOT NECESSARILY FOR THAT WORK, BUT THEY MISSED YOU. THAT'S WHAT HAPPENED TO DENZEL. DENZEL LOST TO AL PACINO FOR "SCENT OF A WOMAN." AL PACINO, ONE OF THE GREATEST ACTORS OF ALL TIME. BUT IF YOU'RE GOING JUST BY "MALCOLM X" AND "SCENT OF A WOMAN" COME ON. BUT AL PACINO HAD NOT WON FOR "DOG DAY AFTERNOON," "SERPICO," "SCAR FACE," I MEAN, THEY LIKE WENT OVER HIM FOUR OR FIVE TIMES. SO DENZEL'S COMING UP, HE HAD ALREADY WON FOR "GLORY" BEST SUPPORTING ACTOR. HE'S YOUNG, LET'S GIVE IT TO AL THIS TIME, DENZEL WILL BE BACK. SO DENZEL CAME BACK WITH "TRAINING DAY." BUT SHOULD NOT HAVE GOTTEN ONE FOR "HURRICANE" OR "MALCOLM X"? BUT THAT'S THE WAY THAT WORKS. AT THIS TIME, WE ARE SUPPOSED TO HAVE MICROPHONE SETUP, UP THERE? 44 YES. RIGHT THERE. OVER THE TICKET MASTER SIGN. CAN YOU WAVE YOUR HAND, SIR? WE'RE GOING TO ANSWER SOME QUESTIONS. I'D FIRST LIKE TO SAY THAT, PLEASE DO NOT WASTE OUR TIME TO ASK ME HOW DO WE END PREJUDICE, RACISM, WORLD HUNGER, AIDS, HOW DO WE SAVE THE -- NO, I DO NOT KNOW. HOW DO WE SAVE THE RAIN FOREST? THERE'S ANOTHER MICROPHONE DOWN HERE, TOO. LET'S START DOWN Y YES, RIGHT THERE. >> HI. >> HELLO. >> YEAH. I WAS JUST WONDERING, LIKE WHEN YOU CREATE YOUR FILMS, WHAT DO YOU USE AS A MUSE. WHAT DRIVES YOU TO CREATE YOUR FILMS, EVENTS OR THINGS THAT AFFECT YOU EMOTIONALLY? >> THERE ARE MANY DIFFERENT THINGS THAT DRIVE ME. I THINK AS AN ARTIST, YOU HAVE TO BE OPEN TO INSPIRATION WHEREVER IT COMES. "SHE'S GOT TO HAVE IT," I JUST MADE UP. "SCHOOL DAZE" ABOUT MY FOUR YEARS AT 45 MOOREHOUSE, "DOING THE RIGHT THING" ABOUT RACIAL TENSION THAT EXISTED IN NEW YORK CITY AT THE TIME, ESPECIALLY BETWEEN AFRICAN-AMERICANS AND ITALIAN AMERICANS. "HERE AGAIN" MY LOVE OF SPORTS AND BASKETBALL, AND A SEMI-AUTOBIOGRAPHICAL FILM ABOUT MY FAMILY GROWING UP IN BROOKLYN. UP TOP. >> YES. GREETINGS >> HOW YOU DOING? >> A LOT OF TALK ABOUT AFRICAN-AMERICAN HISTORY, WHICH IS SOMETHING I THINK IS BARELY TAUGHT IN SCHOOLS ANYWAYS AND VERY BRIEFLY. WHEN WE TALK ABOUT SLAVE RY, IT'S USUALLY SOMETHING IN THE DISTANT PAST THAT DOESN'T HAVE ANYTHING TO DO WITH THE PRESENT. I WANT TO KNOW, HOW DO YOU FEEL ABOUT AFRICAN HISTORY IN GENERAL? YOU TALK ABOUT GOING BACK TO THE HOMELAND. WHAT ABOUT HISTORY OF THE HOMELAND? HISTORY OF COLOGNEIZATION AND THE EFFECTS OF SLAVERY IN THE PRESENT DAY? THANK YOU. >> VERY GOOD QUESTION. 46 I THINK ALL THAT STUFF HAS BEEN OMITTED FROM THE HISTORY BOOKS. I HAVE TWO CHILDREN. MY DAWLGHTER, SATCHEL IS 11, AND MY SON, JACKSON, IS 8. -NULL MY DAUGHTER. >> IN THE HISTORY BOOKS, THEY STILL REFER TO CHRISTOPHER COLUMBUS IS A HERO, THEY STILL SAY CHRISTOPHER COLUMBUS DISCOVERED AMERICA. HOW DO YOU DISCOVER SOMETHING WHEN PEOPLE ARE THERE ALREADY? [ APPLAUSE ] >> WE HAVE TO CORRECT WHAT IS LEARNED IN SCHOOL. YOU KNOW, MY DAUGHTER AND SON WERE TO FIND OUT THAT THE FIRST PRESIDENT OF THE UNITED STATES, GEORGE WASHINGTON OWNED SLAVES. THEY DIDN'T KNOW THAT. THEY'RE NOT TEACHING THAT IN THE CLASSROOM. YES. >> HI. ENJOYED YOUR INSIDE MAN PODCAST BY THE WAY. WHAT WOULD YOU SUGGEST FOR BEGINNING 47 PRODUCERS IN RAISING FUNDS BESIDES RELATIVES FOR PRODUCING FILMS? >> I THINK THAT IF YOU ARE A PRODUCER AND YOU'RE TRYING TO RAISE MONEY, YOU HAVE TO GET MONEY FROM WHEREVER YOU CAN. YOU COULD HAVE TO EXHAUST EVERY SINGLE OPTION AND COME UP WITH THE MONEY YOU NEED TO MAKE THE FILM THERE'S REALLY NO -- THAT'S WHAT YOU HAVE TO DO. YOU HAVE TO BE RELENTLESS. YOU HAVE TO FIND THAT MONEY. >> YES. >> HI. I'M AN ASPIRING FILM-MAKER, AND ONE THING THAT REALLY WORRIES ME IS THE ABILITY OF HOLLYWOOD TO FORCE AN ASPIRING WRITER OR DIRECTOR TO RECREATE REGURGITATED MATERIAL AND NOT DO ANYTHING TRULY CREATIVE. I FEEL THAT YOU HAVE REALLY NOT DONE THAT. YOU'VE KIND OF MADE IT ON YOUR OWN. I WAS WONDERING, BECAUSE I ALSO -- I WAS THINKING UP THERE, I THOUGHT ALSO WOODY ALLEN DID THAT. 48 IS IT PERHAPS THAT YOU'RE NEW YORK BASED SO YOU'RE FARTHER AWAY FROM THE FIRE PIT OF L.A. THAT YOU WERE ABLE TO DO THAT? >> I THINK THAT'S A VERY ASTUTE ASSESSMENT. IT'S NOT JUST MYSELF. I THINK YOU SHOULD INCLUDE, YOU TALK ABOUT THE NEW YORK FILM-MAKERS, WOODY ALLEN, MARVIN SCORCESE, JIM, JARMISH. YOU HAVE A CHANCE OF DOING MORE PERSONAL FILMS THAN LIVING THERE WHICH IS A COMPANY TOWN, BUT TO TALK ABOUT YOUR AS EXPIRATIONS, YOU SHOULD NOT SUCCUMB AND YOU SHOULD TRY TO DO THE FILMS YOU WANT TO MAKE AND DO IT OUTSIDE HOLLYWOOD AND GO THE INDEPENDENT ROUTE, NOT LET HOLLYWOOD DETERMINE WHETHER YOU BECOME A FILM-MAKER OR NOT. YES >> HI. AS AN ASPIRING ACTRESS MYSELF, I'M JUST LIKE YOU, IN GRADUATE SCHOOL, FOR ACTING. I JUST WANTED TO KNOW, DURING THE FOUR YEARS BEFORE YOU MADE YOUR FIRST FILM, THE TIMES THAT YOU MAY HAVE DOUBTED YOURSELF OR 49 THE TIMES THAT WERE REALLY HARD, WHAT KEPT YOU THERE? WHAT KEPT YOU INSPIRED? ALSO, I WANT TO KNOW IF I COULD GIVE YOU MY HEAD SHOT AND RESUME? >> YOU GIVE IT TO MY MAN RIGHT IN THERE THE ALL BLACK. >> WHICH ONE? THIS ONE? YES >> PLEASE READ IT, PLEASE. I'M FROM GEORGIA, PLEASE. I'M ASPIRING, I AM. I REALLY AM. >> I THINK THAT'S A VERY GOOD QUESTION. THIS IS NOT -- HOPEFULLY, THIS WILL PERTAIN TO EVERYBODY IN THE AUDIENCE. HOW -- WHAT MAKES YOU GO FORWARD WHEN THINGS AREN'T WORKING OUT. NOT ONLY WHEN PEOPLE ARE DOUBTING YOU, BUT WHEN YOU HAVE SELF-DOUBT ON YOURSELF. THAT'S WHEN YOU'RE WORRIED. WHEN YOU START DOUBTING YOURSELF, THAT'S WHEN IT REALLY BECOMES TROUBLE. 50 I HAD MANY, MANY MOMENTS WHERE I HAD SELF-DOUBT, BUT THEY LINGERED. I DID NOT LET LIVE WITH ME. NUMBER ONE, YOU HAVE TO BE DRIVEN, NUMBER TWO, IF YOU'RE DOING WHAT YOU LOVE, IT MAKES IT THAT MUCH EASIER. I KNOW IT SOUNDS REDUNDANT, BUT YOU HAVE TO WORK HARD, YOU HAVE TO BE A FIGHTER AND YOU HAVE TO BELIEVE IN YOURSELF WHEN NO ONE ELSE BELIEVES IN YOU. I KNOW IT SOUNDS LIKE A CLICHE. WHEN I WOULD TELL PEOPLE I WAS GOING TO BE A FILM-MAKER, THEY WOULD BE LIKE, ARE YOU CRAZY? BLACK PEOPLE DON'T DIRECT FILMS. BUT I HAD A VISION THAT WHAT I COULD DO. OTHER PEOPLE DON'T SEE THAT VISION. A LOT OF PEOPLE BEEN LOCKED UP, PUT AWAY BECAUSE PEOPLE CANNOT SEE THEIR VISION WHEN TED TURNER WAS TELLING PEOPLE I WANT TO HAVE A 24-HOUR NEWS CHANNEL, PEOPLE ARE LIKE, YOU'RE CRAZY. WHO WANTS TO WATCH NEWS FOR 24 HOURS? WHEN PHILLIP KNIGHT WAS SELLING TO MAKE KISS OUT OF THE TRUNK OF HIS CAR AND SOLES OF 51 THE SNEAKERS WERE MADE FROM THIS WAFFLE IRON, WHO WANTS TO BUY THESE? COME ON! IT'S GOING TO BE ADDIDAS AND CONVERSE FOREVER! SO, YOU HAVE TO BE -- HAVE TO HAVE THAT VISION AND YOU HAVE TO WORK TOWARDS THAT VISION. AND SO, AGAIN, TALENT, HUNGER, AND YOU GOT TO BE LUCKY. LUCK PLAYS A PART. MY FIRST FILM "SHE'S GOT TO HAVE IT" ABOUT AN AFRICAN-AMERICAN WOMAN HAD THREE BOYFRIENDS DRUGGED THEM AT THE SAME TIME, CAME OUT IN 1986. TWO YEARS LATER, WHAT HAPPENED? '86 NOBODY'S TALKING ABOUT AIDS, SPIKE LEE, AN IRRESPONSIBLE FILM-MAKER, WE'RE NOT GOING WITH SQUASHING THIS. IT WAS TIMING. YES. >> HI. >> HELLO. >> I'M IN GRADUATE SCHOOL FOR DIGITAL ANIMATION, FOCUSSING ON MULTI-CULTURAL 52 CHARACTERS AND MULTI-CULTURAL STORIES. YOU'VE WRITTEN IN CHILDREN'S BOOKS AND ALSO DABBLED IN ANIMATION WITH "SHE HATE ME." DO YOU THINK YOU'LL EVER PUT THOSE TOGETHER AT ALL? >> HAVE TO GIVE LOVE TO MY WIFE AND I, WE CO-AUTHORED THOSE CHILDREN'S BOOKS, THE FIRST CALLED "PLEASE BABY PLEASE," THE SECOND ONE WAS CALLED "PLEASE PUPPY PLEASE." SHE'S NOT WRITING THE NEXT ONES CALLED "PLEASE NIGGER PLEASE" I'M NOT REALLY ANIMATION. I LIKE IT BUT I'M NOT AN ANIMATION BUFF. BUT WE NEED MORE AFRICAN-AMERICAN ANIMATORS. YES, SIR. WITH THE KNICKS. >> WHAT'S UP? YOU THINK THEY'RE GOING TO MAKE THE PLAYOFFS THIS YEAR? >> DID YOU SEE THE GAME LAST NIGHT? >> IT WAS MURDER, MAN. >> WE LOST BY 33 POINTS 53 >> I WAS WONDERING, I GO TO FULL SAIL FILM SCHOOL IN ORLANDO. I DON'T KNOW LIKE IF I SHOULD MOVE TO CALIFORNIA, TO NEW YORK, UNLESS YOU GIVE ME A JOB, BUT I WAS WONDERING, IN YOUR OPINION. >> WELL, THAT'S WHY I HIRE PEOPLE, YOU HAVE BE A KNICK FAN TO GET A JOB. >> I WAS WONDERING IN YOUR OPINION, WHICH WOULD BE THE MORE IDEAL PLACE TO MOVE TO AS SOMEBODY JUST TRYING TO START OUT. >> YOU KNOW, THAT'S A VERY HARD QUESTION FOR ME TO ANSWER BECAUSE I DO NOT KNOW YOU AND DON'T KNOW WHETHER YOU'RE MORE ADAPTABLE TO CALIFORNIA OR NEW YORK. BUT WITH THE TECHNICAL ADVANCEMENTS WITH DIGITAL FILM MAKING, YOU HAVE TO UNDERSTAND, YOU DON'T HAVE TO LIVE IN NEW YORK OR L.A. TO BE A FILM-MAKER. MANY FILMS ARE BEING MADE, HAVE GOTTEN DISTRIBUTION WITH FILM-MAKERS WHO DON'T LIVE IN NEW YORK OR L.A. , WHOSE STORIES DON'T TAKE PLACE IN NEW YORK OR L.A. SO DON'T THINK THAT YOU HAVE TO MOVE TO NEW YORK OR L.A. 54 TO BECOME A FILM-MAKER >> ALL RIGHT. >> YES. >> YEAH. I WAS JUST WONDERING IF YOU COULD JUST GO ON FOR LIKE A COUPLE MINUTES OR SO ABOUT YOUR OWN PERSONAL FAITH, YOUR SPIRITUAL VALUES, AND IF YOU HAVE ANY SPECIFIC RELIGIOUS BELIEFS SLASH SPIRITUAL PRACTICE FAITH YOU COULD SHARE WITH US? >> GOOD QUESTION. GROWING UP W WE HAD TO GO TO CHURCH. WE WENT DOWN SOUTH. FOR THE SUMMER. BOTH MY GRANDPARENTS WERE SOUTHERN BAPTISTS. I DID NOT LIKE GOING TO CHURCH. STILL DON'T LIKE GOING TO CHURCH. BUT THIS, REALLY, THERE'S NO NEED TO APPLAUD. BUT, AGAIN, THIS IS MY OWN, I'M NOT CONDEMNING CHURCH. BUT AT THE SAME TIME, I BELIEVE THERE IS A HIGHER BEING. AT THE SAME TIME, I KNOW THERE IS A 55 SPIRIT. AT THE SAME TIME, I KNOW I'VE BEEN TOUCHED BY THAT SPIRIT. AS I SAID BEFORE, THIS SUMMER IS GOING TO BE 20 YEARS SINCE MY FIRST FILM. THERE HAVE BEEN TOO MANY TIMES WHEN I'VE BEEN HEADED IN ONE DIRECTION ABOUT TO WALK OFF A CLIFF, AND AT THE LAST MOMENT, ONE FOOT OVER THE CLIFF, ABOUT TO TAKE THE OTHER AIR JORDAN ON THE OTHER STEP, I GET PUSHED ANOTHER DIRECTION. WHEN THAT HAPPENS, I'M THINKING, OH, NO Y THIS IS HORRIBLE, WHETHER IT WAS A FILM, WHAT NOT, THIS IS THE ARS WORST THING THAT EVER HAPPENED TO ME, NOT KNOWING IN HINDSIGHT, THAT WOULD HAVE BEEN CATASTROPHIC IF I HAD TAKEN THE OTHER FOOT. THAT IS NOT A COINCIDENCE, I DON'T BELIEVE IT IS. SO, I'M VERY SPIRITUAL, AND I KNOW THERE IS A HIGHER BEING. >> HI. I'D LIKE TO KNOW >> HELLO 56 >> YOUR INSPIRATION FOR CREATING "SCHOOL DAZE" WAS AND WHETHER OR NOT YOU BELIEVE IT CREATED A STIGMA AMONG BLACK COLLEGE STUDENTS REGARDING BLACK SORORITIES AND FRATERNITIES AMONG THE DIVINE NINE. >> SCHOOL DAYS IS BASICALLY MY DAYS AT MOOREHOUSE. YES. I SEE YOU HOLDING UP THE DVD, THANK YOU VERY MUCH. "SCHOOL DAZE" IS BASICALLY MY FOUR YEARS AT MOOREHOUSE BUT WE JAM-PACKED IT AT HOMECOMING WEEKEND. I DON'T THINK A STIGMA WAS ATTACHED TO BLACKS, GREEKS. I THINK THAT QUESTIONS WERE ASKED OF BLACK GREEKS THAT SHOULD BE ASKED. [ APPLAUSE ] >> THERE'S NO REASON IN THE WORLD WHY SOMEONE SHOULD HAVE A BROKEN LIMB, CRACKED SKULL, OR LOSE THEIR LIFE PLEDGING A BLACK OR WHITE FRATERNITY. [ APPLAUSE ] >> I AGREE. >> SO, IF YOUR STUFF IS TOGETHER, YOU 57 SHOULD STAND UP TO THAT SCRUTINY ABOUT WHAT ARE YOU GUYS DOING, OR WOMEN. WE ALL KNOW THEY'RE BASED UPON FELLOWSHIP, AND TRYING TO HELP ONE ANOTHER. BUT, IN MY EXPERIENCE, IT WASN'T LIKE THAT. I CAME WITH MANY GUYS WHO EVEN LOOKED MORE GEEKIER THAN I DID. THERE'S A LINE IN "SCHOOL DAZE" I WON'T SAY THE FULL LINE, BUT WE WEREN'T SEEING NO PARTS. BUT THESE MEN WERE JUST NOT DESIRABLE. WE WEREN'T GETTING NO RUN, NO RHYTHM, NO NOTHING. BUT THE MINUTE, AND I DIDN'T PLEDGE Y BUT THE MINUTE MY OTHER FRIENDS PLEDGED, IT WAS UNBELIEVABLE. THERE WAS THIS MAGICAL MYSTICAL TRANSFORMATION. THESE GUYS WHO AT ONE TIME WERE SO UNDESIRABLE, NOW, THESE WOMEN WERE ALL OVER THEM. IT'S CRAZY. THE SAME PERSON. NOW THEY'RE WEARING DIFFERENT COLORS, THEY 58 HAVE A BRAND ON, BASICALLY THE SAME PERSON. SO, FOR ME, WHAT WAS MINED BOGGLING WAS NOT -- FOR ME, I THOUGHT THAT WAS MORE -- THAT WAS -- THAT AFFECTED MORE OF THE WOMEN THAN THE GUYS THAT GOT THEIR ASS BEAT TO PLEDGE. SO, I DID NOT PLEDGE. I DID NOT WANT TO GET WHIPPED IN THE ASS WITH THAT PADDLE. I DID NOT WANT TO EAT CHOCOLATE EX-LAX CAKES OR DOG FOOD OR ANY OF THAT CRAZY STUFF. I KNEW WHO I WAS. I DIDN'T HAVE TO JOIN AN ORGANIZATION TO FEEL GOOD ABOUT MYSELF, YOU KNOW. [ APPLAUSE ] YES. >> I WAS JUST WONDERING, IF YOU HAD READ ANY OF BELL HOOKS' CRITIQUES OF SOME OF YOUR MOVIES AND WHAT YOUR RESPONSE IS TO HER AND MAYBE OTHER FEMINIST CRITICS? >> THE MAJORITY OF FEMINIST CRITICS, I WOULD INCLUDE BELL HOOKS WOULD INCLUDE THE EARLY STAGES OF MY FILM MAKING AND MANY OF THE CRITIQUES WERE ON . SO, THEN IT WAS REINFORCED WHEN I GOT MARRIED TO MY WIFE. 59 >> YOU WERE TALKING ABOUT WHEN YOU SAID YOU WANTED TO BE A FILM-MAKER, PEOPLE WERE LOOKING AT YOU LIKE YOU WERE CRAZY. AT THE SAME TIME, A LOT OF PEOPLE WERE BEHIND YOU, BUT I WAS WONDERING IF YOU, AN ASPIRING ARTIST MYSELF, ALTHOUGH I MAY NOT BE IN THIS POSITION, IF YOU HAD ANY SPECIFIC ADVICE FOR SOMEONE WHO MAY NOT HAVE GROWN UP IN A TYPE OF HOUSEHOLD WHERE THEIR FAMILY OR PEOPLE CLOSEST TO THEM ARE BEHIND THEM? >> HOPEFULLY, YOU CAN FIND A GROUP OF PEOPLE LIKE YOURSELF WHO HAVE THE SAME AS EXPIRATIONS, AND DEPEND ON EACH OTHER. IF YOU DON'T HAVE THAT, YOU GOT TO DO IT BY YOURSELF. I MEAN, YOU HAVE TO HAVE THE UTMOST BELIEF IN YOURSELF. YOU HAVE TO BELIEVE THAT, AND IF YOU'RE NOT GETTING THAT AT HOME, YOU DON'T HAVE TO DETER THAT FROM WHAT YOU WANT TO BE. WHAT DO YOU WANT TO DO, SIR? >> I DON'T KNOW Y I'M AN ACTOR AND WRITER AND MUSICIAN AND STILL IN 11th GRADE. >> YOU'RE YOUNG. >> YEAH. 60 >> BUT IT'S GOING TO BE SOMETHING ARTISTIC, THOUGH R RIGHT? >> EXCUSE ME. >> IT WILL BE IN THE ARTS? >> YES, SIR. >> KEEP AT IT. LEARN YOUR CRAFT. LEARN YOUR CRAFT. I WILL TAKE A COUPLE MORE. >> CAN I READ A POEM? >> IS IT SPOKEN WORD? HOW LONG IS IT? >> VERY SHORT? >> GO AHEAD. >> IS IT CLEAN? >> YEAH. >> IT'S NOT PROFANE, RIGHT? >> NO. >> JUST SOME CHICKEN SCRATCH I WROTE OFF A NICKEL SACK OF HOPE BUT I BET I TICKLE BACKS WHEN I RIDDLE FACTS AND QUOTES AND SPIT THEM AT SOME FOLKS JUST TO GET BACK AT THEM JOKES THAT WERE CRACKED ON ME IN ELEMENTARY FOR HAVING HOPE OF A BETTER WAY OF LIVING IN A BETTER WAY OF LIFE BUT THERE WAS STILL THE 61 VISION AND OUR WORLDS ARE SPLIT IN TWICE IT'S AS PLAIN AS BLACK-AND-WHITE, DARK DAYS AND BRIGHT NIGHTS, SPRING DUST FALL DAWN IT'S ALL TWILIGHT, AS LONG AS I'M STILL BREATHING MY HOPES ARE STILL ALIVE AND MY GOALS I CAN'T ACHIEVE THEM AS LONG AS MY BOOTY STRIVES, DO OR DIE FOR YOU AND I, FOREVER WE SHALL GRIND UNTIL WE RAINING THE PARRISH I DON'T KNOW THAT NOW'S THE TIME. I WONDER IF YOU'D TAKE THIS CD AND LISTEN TO IT. THERE'S MUCH MORE ON HERE >> GIVE IT TO MY MAN RIGHT THERE. WHAT'S YOUR NAME? >> RANDALL IVY >> THANK YOU VERY MUCH. [ APPLAUSE ] >> DO YOU NEED A CONTACT NUMBER OR SOMETHING? >> PUT IT ON THE THING YOU JUST HANDED MY MAN. SOMEBODY GIVE HIM A PEN. >> I WILL TAKE TWO MORE FROM UP ON TOP. YES. >> THANK YOU SO MUCH 62 >> YOU'RE WELCOME. >> SPIKE, FIRST, I WANT TO SAY, I ENJOY ALL YOUR MOVIES BUT GROWING UP IN BROOKLYN IN THE '60's, I WAS JUST SO AMAZED THAT YOU GOT IT ALL. I MEAN, YOU GOT IT ALL, EXCEPT FOR ONE THING. THE BUST SOMETHING OUT. >> LEFT THAT OUT? >> I HAVE A QUESTION FOR MY DAUGHTER LESLIE. SHE IS WRITING A BOOK. THE BOOK IS GOOD. WHAT ADVICE WOULD YOU GIVE HER, AS FAR AS GETTING THE BOOK OUT? AND SUCCESS. >> WELL, NUMBER ONE, TODAY, SO MANY AUTHORS ARE SELF-PUBLICATION OF BOOKS, WITH THE INTERNET, THE TECHNOLOGY, PAST THE . A BOOK WILL NOT SEE THE LIGHT OF DAY, WE'RE PAST THE DAY WHERE A BOOK WILL NOT SEE THE LIGHT OF DAY UNLESS A PUBLISHING HOUSE TAKES IT. I MEAN, GET THE BOOK OUT. OUT OF YOUR TRUNK. 63 IF IT'S VERY GOOD, AND PEOPLE LIKE IT, YOU KNOW, SOMEONE'S GOING TO SEE IT. YOU KNOW, DO NOT LET A REJECTION FROM A LITERARY HOUSE STOP HER FROM TRYING TO GET HER WORK OUT. >> THANK YOU. >> YES. >> GOOD EVENING. >> GOOD EVENING. >> EARLIER, YOU MENTIONED THAT WILL SMITH'S PERFORMANCE IN "ALI" WAS MORE OF AN IMPERSONATION? >> IN MY OPINION >> WHAT DID YOU THINK OF JAMIE FOXX'S PERFORMANCE IN "RAY"? >> I LOVED "RAY." >> BUT AGAIN, I HOPE THIS IS NOT -- I WAS NOT -- I WAS NOT -- THAT STATEMENT WAS NOT MEANT WITH ANY DISRESPECT TO WILL. I WAS TRYING TO MAKE A CORRELATION, A CONTRAST BETWEEN PERFORMANCES, HOW TWO PEOPLE USE DIFFERENT APPROACHES TO PLAY PROMINENT FIGURES. >> YES. 64 >> GOOD EVENING, SPIKE. MY NAME IS EVAN. I'M FROM ZIMBABWE, AFRICA. I'D LIKE -- I'D JUST LIKE TO SAY THAT YOU'RE MY HERO. I MEAN, YOU HAVE RISEN UP REGARDLESS OF ALL THESE -- REGARDLESS OF OBSTACLES, YOU'VE OVERCOME SO MUCH. I WANT TO GO INTO DOCUMENTARY PRODUCTION BECAUSE I FEEL THAT A LIGHT NEEDS TO BE SHARED ON THE SO-CALLED DARK CONTINENT. WHAT ADVICE DO YOU HAVE FOR ME? THANK YOU. >> TO BE A DOCUMENTARY FILM-MAKER, ALL YOU NEED IS A VISION AND IDEAL AND CAMERA. GO OUT THERE AND SHOOT. WITH THE NEW DIGITAL TECHNOLOGY, IT IS NOT -- IT DOES NOT TAKE GREAT AMOUNTS OF MONEY ANYMORE TO MAKE FILMS TO MAKE FEATURE FILMS AND COSTS EVEN LESS TO DO DOCUMENTARY. DOCUMENTARIES FIND SUBJECT MATTERS THEY FEEL IS IMPORTANT, STUFF THEY WANT TO SAY, GO OUT AND SHOOT IT 65 GET A CAMERA, GO OUT AND SHOOT. WE'VE DONE THREE FEATURE LENGTH DOCUMENTARIES. THE FIRST ONE WE DID WAS FOUR LITTLE GIRLS, I HOPE YOU PEOPLE HAVE SEEN IT. FOUR LITTLE GIRLS, ON DVD's, ONE OF MY FAVORITE FILMS BUT ALSO ONE OF THE HARDEST I EVER HAD TO DO. THE FILM WAS ABOUT THE BOMBING OF THE 16th STREET BAPTIST CHURCH, WHICH TOOK PLACE IN BIRMINGHAM, IN SEPTEMBER 1963. AND FOUR AFRICAN-AMERICAN GIRLS WERE MURDERED WHERE MANY STICKS OF DYNAMITE WERE PLANTED IN THAT CHURCH. THE SECOND DOCUMENTARY FILM I DID WAS A FILM CALLED "JIM BROWN" ALL AMERICAN. WE WERE IN THE MIDST OF SHOOTING THE THIRD DOCUMENTARY, WHEN THE LEVEE BROKE, ABOUT THE AFTERMATH OF KATRINA. I KNOW, IT HIT FLORIDA FIRST AND WENT THROUGHOUT THE GULF REGIME, WE'RE DEALING SPECIFICALLY WITH NEW ORLEANS I KNOW YOU PEOPLES SAW "NEW YORK TIMES" LAST WEEK, AN ARTICLE SAYING IT'S PREDICTED 80% OF AFRICAN-AMERICANS OF NEW ORLEANS WILL 66 NOT RETURN TO NEW ORLEANS. AND THAT'S CRAZY. BECAUSE IF YOU DON'T HAVE BLACK FOLKS IN NEW ORLEANS, I DON'T KNOW WHAT THAT IS. THAT'S WHAT WE'RE WORKING ON NOW. I WOULD SAY GO OUT AND SHOOT. LAST QUESTION OF THE NIGHT. YES. >> I WAS JUST WONDERING, OUT OF ALL THE FILMS AND DOCUMENTARIES THAT EXIST TODAY, WHAT'S ONE YOU WISH YOU COULD HAVE TAKEN PART IN AND WHY? >> A DOCUMENTARY? >> OR FILMS. >> WHOO. >> I GOT A GOOD ONE. >> HERE'S HOW I AM GOING TO ANSWER THAT QUESTION. I DON'T LOOK AT STUFF AND SAY, I WISH I COULD HAVE DONE THAT. I -- I CAN ADMIRE OTHER WORK THAT I DON'T DO. AND ALSO, WHEN YOU SEE GREAT WORK, IT SETS THE BAR, SAYING, YO, I GOT TO -- THAT STUFF 67 WAS HOT, I GOT TO COME HARDER NEXT TIME. SO, I'VE NEVER REALLY DONE SOMETHING, I SAID, I WISH I HAD DONE THAT. WHAT'S THE ONE YOU WERE GOING TO SUGGEST FOR ME? >> NOT -- I WAS JUST WONDERING TO SEE WHAT YOUR VIEW WOULD BE. >> YOU SAID, I HAVE ONE FOR YOU, SO WHAT WAS THAT? >> I WAS SAYING WHAT FILM YOU WISH YOU COULD HAVE BEEN A PART OF? >> DID YOU NOT SAY, I HAVE ONE FOR YOU OR AM I HEARINGS THINGS? >> I WANTED TO HEAR YOUR OPINION? >> I JUST GAVE MY ANSWER. >> OKAY. >> LAST ONE. WE CAN'T END ON THAT. >> HI. I REALLY ENJOYED YOUR MOVIE "MALCOLM X" BUT I HAD A QUESTION ABOUT THE SCENE, I WAS WONDERING WHY YOU CHOSE TO EXCUSE JURI KOICHOIMI FROM THE FILM. >> VERY GOOD QUESTION. 68 THERE ARE MANY PEOPLE WE EXCLUDED FROM THE FILM. WHEN WE DO A PERSON'S LIFE, EVEN AT THE LENGTH OF THREE HOURS, YOU CANNOT INCLUDE EVERYBODY. AND EVEN THOUGH WE KNEW WHO SHE WAS, WE FELT -- WE COULD TELL THIS STORY WITHOUT HER INCLUSION. ALSO, A LOT OF THIS STUFF HAS TO DO WITH RIGHTS. SOME PEOPLE DO NOT WANT TO SIGN AWAY THEIR RIGHTS AND WANT TO HOLD THEIR -- WITH HOLD THEIR RIGHTS FOR THEIR OWN FILM PROJECTS AND OWN BOOKS, TOO. SO THAT IS WHY THAT HAPPENED. THANK YOU VERY MUCH.