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He played trumpet on “She’s Gotta Have It,” “School Daze,” and “Mo’ Better Blues,” and in 1991 Lee hired him to be the composer for “Jungle Fever.” Blanchard has scored all but two of Lee’s films since. A heavyset African-American from New Orleans, Blanchard has known Lee for twenty years. Terence Blanchard, the score’s composer, arrived in the control room, and Lee stood up to greet him.
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“He was a good writer, and he would explore those ideas and turn those ideas and nurse those ideas and turn them into full-blown mini-epics.” “Spike was the idea man,” Herb Eichelberger, who taught Lee in an undergraduate film course at Clark College (now Clark Atlanta University), in 1977, told me. The rest, he says, is “time management.” But Lee’s output also reflects the unusual fecundity of his imagination. “You want to get a lot done, you gotta get up in the morning,” he told me. He is able to accomplish so much in part because he often rises at 5 A.M.
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He also makes music videos and TV commercials (he has done spots for Converse, Jaguar, Taco Bell, and Ben & Jerry’s, among others) and has made two superb documentaries: “4 Little Girls,” about the 1963 bombing by the Ku Klux Klan of a black church in Alabama, and “When the Levees Broke,” about the aftermath of Hurricane Katrina. Lee is the artistic director of N.Y.U.’s graduate film program, where he teaches a master class in directing. Releasing movies at an average of nearly one a year, Lee has maintained a pace matched, in this country, only by Woody Allen. He has directed eighteen features, three of which (“Do the Right Thing,” “Jungle Fever,” and “Malcolm X”) have earned him a reputation as a filmmaker obsessed with race.
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It’s been more than twenty years since Lee’s début, the 1986 movie “She’s Gotta Have It”-a breezy sex comedy about a liberated African-American woman and her three male suitors-and he remains Hollywood’s most prominent black filmmaker. “Going to the game tonight,” he said to Marvin Morris, the movie’s music editor, a mountainous African-American man who sat beside him at the table. Lee is a Knicks fan, but he was wearing the sneakers in honor of the Lakers, who that evening were playing in Game Three of the N.B.A.
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He wore an orange T-shirt with a picture of Barack Obama and the word “ REPRESENT,” and new Air Jordan sneakers with pastel-blue stripes around the soles and gingham details. He is fifty-one, and when he briefly removed his Yankees cap a small bald spot was visible at the crown of his short Afro. There was a diamond stud in his left earlobe. His baleful, half-hooded eyes peered out from behind tortoiseshell frames. He is five feet six, with a barrel chest and a pigeon-toed walk. We’re omitted.”Īs the orchestra began to gather on the soundstage, Lee scribbled notes about the score on a yellow legal pad. But if you look at the history of World War Two films we’re invisible. ‘Home of the Brave’ was a great film with a great African-American character in it. “Really, until Jim Brown was in the ‘The Dirty Dozen,’ in 1967. “This is the same shit they were doing back in the forties, fifties, and sixties,” Lee had told me a couple of weeks earlier, in New York. Lee’s remarks appeared online three days before he began recording the score for “Miracle.” Lee sees the movie, the first by a major American director to treat the experience of black soldiers in the war, as redress not only for Eastwood’s Iwo Jima pictures but for an all-white Hollywood vision of the Second World War which dates to the 1962 John Wayne movie “The Longest Day”-and before.
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Eastwood told the Guardian that he had left the black soldiers out because none had actually raised the flag, adding that “a guy like that should shut his face.” Lee shot back, telling that Eastwood sounded like “an angry old man,” and that “the man is not my father and we’re not on a plantation either.” Photograph by PlatonĪ month earlier, at a press conference at the Cannes Film Festival, Lee had sparked a very public feud with Clint Eastwood when he accused him of having omitted black soldiers from his two recent movies about Iwo Jima, “Flags of Our Fathers” and “Letters from Iwo Jima.” (Historians estimate that between seven hundred and nine hundred black servicemen participated in the battle.) The spat had quickly escalated. “People think I’m this angry black man walking around in a constant state of rage,” he complains.