director
“I already see the first film that I like, Fellini's 8½. And guess what? They said in case I'm interested, I'm taking this one home. Fellini is my God, my hero. Fellini made it possible for me to think that I was a filmmaker because none of this stuff makes sense really at the end of the day, but it does make sense. And I don't make sense. I love it.”
“When I think of my work, you know, I think it's like Do the Right Thing. I think of myself as a—I don't know, I feel like I'm definitely influenced by European directors, by Spike Lee, black directors, by gay filmmakers. Little Euro, little ghetto, a little homo.”
“Whoa, whoa, whoa, whoa, Querelle, baby doll. Querelle, man, insane. Brad Davis was a god. I think Jeanne Moreau's in it too. Yeah, Jeanne Moreau is a beast. This was exciting, this is an exciting film for me.”
“I've got lots of trouble, Female Trouble. So I took my Mother to see John Waters and my aunt to see John Waters's film. I think that was another turning point. I think I was 19 in Philadelphia and I took my Mother and my aunt to see this. And at the end of it, my aunt, little old black lady, slapped me in the face and I knew at that moment that I wanted to be a director because I wanted to make people feel the way she felt.”
“Pickup on South Street. Yo, this is another one that just threw me into a loop. The rhythm is off the chain. Fuller, Sam Fuller. Let me tell you something, yo, this cat right here, they had the lead guy punch a woman in the stomach in the subway, which I've never seen anything like it before. Again, risk-taking that you just don't see. Yeah, don't get no better than this one.”
“Jane, Jane's The Piano. You know, taught me to be quiet and Jane does that. She sits with people where Cassavetes is moving it all around, you know, Jane is still and has taught me to be still with the camera.”
“Oh my God, so Claudine. Claudine reminds me of my mom. My mom was elegant, is elegant. She raised five kids on her own. My mom took us to see this in Philadelphia, West Philly at the Locust Theater. I couldn't believe I was seeing my life on screen. I saw my Mother smile after my dad's death and I wanted to make her smile. So I think that this is very dear to my heart. And the Gladys Knight & the Pips soundtrack, Curtis Mayfield soundtrack on this is just a beast.”
“Spartacus. Oh man, it's funny, you know, you get in here and you realize you're influenced by so many filmmakers and they sort of they're etched in your head and you're trying to—you are this, I am this bag, you know? I bring all of this to the table when I'm directing.”
