Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

'His Spikiness': Lee Gets Exhaustive NYM Treatment


Almost 20 years to the day after Spike Lee released his seismic feature breakthrough She’s Gotta Have It, the filmmaker sits for a pair of in-depth profiles anticipating his upcoming Hurricane Katrina documentary, When The Levees Broke: A Requiem in Four Acts. And while Newsweek’s Allison Samuels might echo a bit too much of the Lee profile that owned the front page of the Observer last March, check out Ariel Levy with the 4,800-word Lee family opus in this week’s New York Magazine–its own epic adventure bounding from New York to New Orleans and headlong into Lee’s cinema:

The heavy-handedness that critics have objected to in some of Lee’s movies is absent from his documentaries. In Lee’s fictional films, you can sometimes feel the case of kingitis that [Jungle Fever actress] Veronica Webb diagnosed in action: Lee just can’t seem to get enough of himself. … To be fully affected by Lee’s fictional films, you have be into his vision, his aesthetic, his Spikiness. To be fully affected by his documentaries, you really just need to have eyes. The four hours of When the Levees Broke fly by. It is an astounding piece of work. The full nightmare of Katrina becomes palpable and unavoidable in a way it hasn’t yet in art. I tell Lee this, and he offers me a first and final pleasantry. A text message that says THANKS.

The only thing Levy doesn’t ask is why Lee no longer appears in his films–a character void you can’t say did not nag at you while watching 25th Hour. Or maybe she did ask, and I just have to go back through the story with a flashlight and a canary. Does anybody else know? This question does not rank especially high on HBO publicity’s present-day list of unsolved auteur mysteries.
At any rate, When the Levees Broke premieres Aug. 21 and 22, followed by a full four-hour airing on the Aug. 29 anniversary of Katrina’s landfall.
(NYM photo: Tim Richardson)

Be Sociable, Share!

One Response to “'His Spikiness': Lee Gets Exhaustive NYM Treatment”

  1. Distonmember says:

    How do you get this 4 hour documentary. I don’t have hbo.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon