I agree 100% with his criticisms of Clint Eastwood, but the Coens? C'mon. I fail to see how they treat life as a joke. Their portrayal of death seem to be more serious than that of most directors. The thread that ties all of their movies together is this epic battle between destiny and fate. How is that a joke? I'll be honest, I respect Spike Lee, but that nigga lost any goodwill I had towards him a long time ago. He's a one trick pony. Besides Malcolm X and Do The Right Thing, what other film of merit has he done? No Country For Old Men > Spike Lee's filmography.

Spike Lee rips Coens and Eastwood at Cannes

By Eric J. Lyman

CANNES (Hollywood Reporter) - Spike Lee is in Cannes to promote a new film, but he couldn't resist taking a few swipes at some fellow directors, including Joel and Ethan Coen and Clint Eastwood.

Speaking about his World War II drama "Miracle at St. Anna," Lee said that, unlike the Coens, he was respectful in the way he portrayed death.

"I always treat life and death with respect, but most people don't," Lee said at a news conference Tuesday. "Look, I love the Coen brothers; we all studied at NYU. But they treat life like a joke. Ha ha ha. A joke. It's like, 'Look how they killed that guy! Look how blood squirts out the side of his head!' I see things different than that."

Speaking about the casting for his tale of four black American soldiers in Tuscany, Lee said that black actors appear in war films too infrequently.

"Clint Eastwood made two films about Iwo Jima that ran for more than four hours total, and there was not one Negro actor on the screen," he said. "If you reporters had any balls you'd ask him why. There's no way I know why he did that -- that was his vision, not mine. But I know it was pointed out to him and that he could have changed it. It's not like he didn't know."

Lee said that "St. Anna" is in the final stages of postproduction, with an October 10 release date likely -- exactly one year after shooting started. He said the film is likely to premiere at a festival the month before, either Venice or Toronto.

The filmmaker also said Tuesday that he is starting work on a documentary about basketball great Michael Jordan, set for release in early 2009. Lee and Jordan starred in a series of ads for Nike in the late 1980s and early '90s.

Reuters/Hollywood Reporter

http://www.reuters.com/article/GCA-Cannes/idUSN2134974820080521

“You do Coach bags, I do kush bags, you a douchebag, I’m the truth fag/share greedy, ya’ll niggas get scared easy, queer like multiple pairs of Air Yeezys” - Sean Price

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

n/m


----------------------------


O_E: Your Super-Ego's Favorite Poster.



"I ORBITs the solar system, listenin..."

(C)Keith Murray, "Cosmic Slop"

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

I mean, you got people in PTP talking about
'Grindhouse' was one of the best films of the
past few years



----------------------------


O_E: Your Super-Ego's Favorite Poster.



"I ORBITs the solar system, listenin..."

(C)Keith Murray, "Cosmic Slop"

>
>I mean, you got people in PTP talking about
>'Grindhouse' was one of the best films of the
>past few years

oh no... you say "people" said it.

not necessarily ME... but "people in PTP."

and you're gonna bring it up to ME for some reason... or lack thereof.


ummm.... what were you saying about "irrational bitches" again?

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

Which is also irrational and bitchlike

just sayin



----------------------------


O_E: Your Super-Ego's Favorite Poster.



"I ORBITs the solar system, listenin..."

(C)Keith Murray, "Cosmic Slop"

>The thread that ties all of their movies together is this epic >battle between destiny and fate.

edit: Sorry, I meant to say, "epic battle between free will and destiny and fate."

Also, I'll spot Spike Inside Man, but not 25th Hour. That has to be one of the most overrated movies I've ever seen. The only reason it got good reviews, actually it didn't get GOOD reviews, it got favorable reviews, but the only reason it got them was because it looked like Citizen Kane compared to the garbage Spike put out during his 8 year slump.

“You do Coach bags, I do kush bags, you a douchebag, I’m the truth fag/share greedy, ya’ll niggas get scared easy, queer like multiple pairs of Air Yeezys” - Sean Price

i gotta prepare a gameplan.

____________________________________________________


Steph: I was just fooling about

Kyrie: I wasn't.


https://www.youtube.com/watch?v=R8OWNspU_yE

Spike, like everyone, has released some absolute shit (She Hate Me in particular was fucking awful), but putting out 25th Hour, Inside Man and When the Levees Broke in the last 5-6 years, plus Do the Right Thing and Malcolm X (and I love He Got Game, though I don't think it's quite as good as the others)...the man is one of the greatest directors currently working, right up there with the Coens.

And I'm sorry, but as much as I love No Country, I can't say that it's better than When The Levees Broke because the importance of that documentary trumps the greatest art in my mind. Everyone in this country should be watching that shit to understand how fucking awful our current government is and how the people around the margins, especially the black people, but even the poor whites of New Orleans, were fucked over in a way that just horrifies me. I'll never be able to get over the fact that all of that happened now...not years and years ago.

Levees was aired on HBO first, right? So it wouldn't have been eligible for an Oscar, but did it even win an Emmy?

------------------------------------------------------------------
2006-07 Zeno Memorial Cup winner: Chara SMASH

Dark grin, he can't help when he's happy, looks insane...

4 Little Girls helped REOPEN THE GODDAMN CASE





----------------------------


O_E: Your Super-Ego's Favorite Poster.



"I ORBITs the solar system, listenin..."

(C)Keith Murray, "Cosmic Slop"

But no doubt, he fucking does it when he makes these docs. (And clearly, I really, really, really need to see 4 Little Girls).

------------------------------------------------------------------
2006-07 Zeno Memorial Cup winner: Chara SMASH

Dark grin, he can't help when he's happy, looks insane...

i agree with his opinion about clint's movies, and kinda see his point about the coen's work, but don't necessarily agree.

His opinion should affect how i view his work becuz.....?

there's nothing wrong with proferring opinions of one's colleagues' works... but Spike's opinions are always so shallow, so narrow-minded, so parochial... most of the time, they can be boiled down to "this person has a different point of view from me and makes different movies from me, and thus they suck."

meanwhile, try levelling any kind of critique at Spike's movies and watch how fast he tries to twist it up to label you a racist or an Unca Tom.

Spike is a fucking asshole.

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

>

<--- Blame this lady for Nutty.

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

>

<--- Blame this lady for Nutty.

but yes... thanks for noticing.

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

in your entire penis. it was harder as well

^you've just been Nettrice'd

<--- Blame this lady for Nutty.

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

this is real life and i still GOTCHA!

<--- Blame this lady for Nutty.

~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~

http://unodostres.etsy.com

http://playvicious.com/

>there's nothing wrong with proferring opinions of one's
>colleagues' works... but Spike's opinions are always so
>shallow, so narrow-minded, so parochial... most of the time,
>they can be boiled down to "this person has a different point
>of view from me and makes different movies from me, and thus
>they suck."
>


That's just too damn easy. Let's just say, you might wanna start reading your posts b4 you hit the submit button, playboy.

Now, about Spike, he goes on about historical accuracy, racism and the like; but his critiques are very much fair, and NEVER shallow. Now give me an example of a spike crtitique of some one else's work that fits the criteria you gave. Cuz I seriously can't think of one

>He's a one trick pony

BULL and SHIT

>Besides Malcolm X and Do The Right
>Thing, what other film of merit has he done?

Four Little Girls and When the Levees Broke are more important than No freakin' Country for Old Men

>No Country For
>Old Men > Spike Lee's filmography.

BULL and SHIT

<--- Blame this lady for Nutty.

you just seem so nice.
even now, when youre angry, you seem so nice.

but, WTLB and 4LG were documentaries. excellent documentaries. so comparing them to fiction would be unfair.

having said that, Spike's regular movies, aside from the two you mentioned, and Get on the Bus, really cant compare to the Coen Bros.

**************************************
dominus vobiscum

http://dnlbcknr.tumblr.com
http://www.instagram.com/dnlbcknr

>but, WTLB and 4LG were documentaries. excellent documentaries.
>so comparing them to fiction would be unfair.

you didn't write FICTION

>having said that, Spike's regular movies, aside from the two
>you mentioned, and Get on the Bus, really cant compare to the
>Coen Bros.

Raising AZ and O'Brother Where Art Thou are two of my favorites but i still gotta put Spike above them based on his body of work!

<--- Blame this lady for Nutty.

And is making movies that no one can fux with or
responsibly criticize

Period

He's the BEST documentary filmmaker on the planet

Makes INTERESTING films ACROSS GENRES better than
anyone else in the game right now(cmon...inside
man...the Katrina joint and then a WAR FLICK??...the
nigga can't be fuxed with)

And there isn't another filmmaker, not even
Woody Allen, that the academy has a bigger
vendetta against...Spike's bitterness is justified

>And is making movies that no one can fux with or
>responsibly criticize
>
>Period
>
>He's the BEST documentary filmmaker on the planet

Ever heard of Errol Morris?

I think a doc about the man responsible for firebombing Cambodia is more "important" than anything about Katrina. I'm sorry, but When The Levees Broke was boring. I haven't seen 4 Little Girls but I want to.

“You do Coach bags, I do kush bags, you a douchebag, I’m the truth fag/share greedy, ya’ll niggas get scared easy, queer like multiple pairs of Air Yeezys” - Sean Price

Well sure, I mean, if you think anything without
explosions and blood and colorful pictures is boring,
than fine.

I saw Raging Bull when I was 5 and only stayed
awake during the boxing scenes.

>I think a doc about the man responsible for firebombing
>Cambodia is more "important" than anything about Katrina.

I'm not suggesting that the issue of Katrina is more
important than any other huge political debacle. Hell,
there's zillions of documentary type films about genocides.
All recent genocides are probably more important than Katrina,
in terms of overall human toll

That doesn't, however, mean that any of those films dissected
the issues the way Spike did in 'Levees'. The level of research,
detail, as well as the coherency, comprehensiveness, and intrigue
in that film was absolutely astounding.

It was about any one thing. Didn't focus on any one thing
for very long.

It hopped around, but still made sense.

It really was that good.


>I'm
>sorry, but When The Levees Broke was boring.

No, it wasn't. It was chopped up into different,
coherent episodes.

You can pause it and go play Nintendo, eat your
Cheetos and then watch the rest.




>I haven't seen 4
>Little Girls but I want to.

Amazing.


----------------------------


O_E: Your Super-Ego's Favorite Poster.



"I ORBITs the solar system, listenin..."

(C)Keith Murray, "Cosmic Slop"

**************************************
dominus vobiscum

http://dnlbcknr.tumblr.com
http://www.instagram.com/dnlbcknr

1. The major criticism of the Coens for YEARS has been their ironic detachment from the events in their films.

2. Eastwood could've had ONE black guy in the film. Spike isn't saying he should've broken the realistic depiction to include black men. Just one. One ammunitions holder. One anything. There were black men there. And Eastwood's films are another in a long list of examples of black contributions to WWII being ignored.

My movies: http://russellhainline.com
My movie reviews: https://letterboxd.com/RussellHFilm/
My beer TikTok: https://www.tiktok.com/@thebeertravelguide

>

<--- Blame this lady for Nutty.

thats their thing.

>1. The major criticism of the Coens for YEARS has been their
>ironic detachment from the events in their films.

**************************************
dominus vobiscum

http://dnlbcknr.tumblr.com
http://www.instagram.com/dnlbcknr

But Spike doesn't make Coen Brothers flicks. That ironic detachment towards violence wouldn't work in his flicks.

My movies: http://russellhainline.com
My movie reviews: https://letterboxd.com/RussellHFilm/
My beer TikTok: https://www.tiktok.com/@thebeertravelguide

it smacks of jealousy, imo.

**************************************
dominus vobiscum

http://dnlbcknr.tumblr.com
http://www.instagram.com/dnlbcknr

Spike is at least as respected and successful

Nothing to be jealous of

----------------------------


O_E: Your Super-Ego's Favorite Poster.



"I ORBITs the solar system, listenin..."

(C)Keith Murray, "Cosmic Slop"

not in terms of box office... awards... definitely not influence... and not respect.

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

But in no way will I say the Coens have had more influence than Spike Lee in the world of filmmaking, or even the world in general.

My movies: http://russellhainline.com
My movie reviews: https://letterboxd.com/RussellHFilm/
My beer TikTok: https://www.tiktok.com/@thebeertravelguide

the influence of the Coen Brothers vs. that of Spike?

because we can go there... the Coens have basically created an entire school of filmmakers... a certain genre... not to mention their influence on television (see "My Name is Earl" and "Ugly Betty," amongst others)

who has Spike influenced?

i mean, Spike's success encouraged a lot of young Blacks to become filmmakers, yes... but who has actually found his STYLE worth emulating for anything other than parody?

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

>but who has actually found his STYLE worth emulating for anything other than parody?



that's a joke right?
*looks around*
someoe tell me this man is joking

from his use of still rolling camera low angle shots
to the music
to the use of NOW well known black actors
omg that's just the beginning
please tell me that was a joke
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~

http://unodostres.etsy.com

http://playvicious.com/

please... feel free to dissuade me if i'm wrong.

Denzel and Wesley Sam Jackson got their big breaks elsewhere, btw.

maybe your argument would have worked if Giancarlo Esposito had got a ton of significant work after Spike.

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

or Isaiah Washington


the denzel, wesley sidestep was cute
but they are known for their work with spike

matter o fact
you tell me what actor would turn down a 40 acres production
since his accomplishments are so negligible
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~

http://unodostres.etsy.com

http://playvicious.com/

isn't the same thing as Spike having significant "influence" as a *filmmaker*.

(besides, you *could* argue that Turturro achieved more shine in his work with the Coens than he did in Spike's movies)



*or rather, first major exposure

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

i had several short quick points
which ranged the gamut of the film industry
from his style of filmmaking
to the actors
to the music

you decided and continue to quibble
needlessly
on that point

fact is
he is quite influential
and your statement
was ridiculous
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~

http://unodostres.etsy.com

http://playvicious.com/

you made some extremely vague reference to a certain kind of shot than i opted not to comment on because it wasn't substantive.

and then i off-handedly dismissed the casting thing as an aside ("btw")...

if you have a point to make, please make it.

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

http://www.imdb.com/title/tt0113247/

One of the most important foreign films
of 90s. Its entire style was taken directly
from 'Do The Right Thing', and the director
has even admitted it.

30 mins into the film its absurdly clear
how influential Spike was to this film's
brilliant execution.

~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~

http://unodostres.etsy.com

http://playvicious.com/

Hate is a great movie (dunno if i'd call it one of the most important foreign films of the 1990s, per se) and i'm glad you mentioned it.

however, it doesn't exactly obliterate the legions of disciples spawned by Raising Arizona alone--Guy Ritchie, Wes Anderson, Napoleon Dynamite, Smokin' Aces, etc.

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

>but who has actually found his STYLE worth emulating for anything other than parody?

you've been answered
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~

http://unodostres.etsy.com

http://playvicious.com/

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

you are exaggerating again
ima stop now
this isn't GD
and you are on some win win win
hate hate hate
trip
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~

http://unodostres.etsy.com

http://playvicious.com/

look again.

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

She's Gotta Have It is a very important film for the depiction of black women on screen alone, let alone its merit in the critical circles for both black and feminist film scholars. The argument can be made (and has been made) that for the first time, a black woman wasn't simply a mammy, or a lustful object, or a violent empowered sassy asskicker. She was a complex creature, a person worth examining further. That alone is a first-foot-in-the-door for the re-evaluation of the depiction of an entire group of human beings in American film.

Do The Right Thing inflamed America in a way that no film about race had since, I don't know, In the Heat of the Night. There was never a moment where someone took the Academy Awards stage and stated their outrage over the lack of a nomination for a Coen Brothers movie-- one might hypothesize that Basinger speaking out on the Oscars about DTRT being robbed played an ENORMOUS part in the painting the portrait of the old racist Academy that has led to so many black actors getting Oscars as of late. And its timely release then made the impact even more hard-hitting-- and shit, it's still extremely relevant to this day. DTRT is the modern-day benchmark for every contemporary film on race. Every one.

One could even say that the film Malcolm X helped mold the perception of Malcolm across America, not just with black folks, but with everyone. You could talk about about the liberties Spike took with the history, and whether that was irresponsible in dealing with this subject matter, but Malcolm X to this day gets shown in classrooms all over America, and plays a very heavy part in the perception of an important American figure's history.

And I haven't even touched on Spike's importance as the first black filmmaker celebrity of his era. The criticisms of stereotyping thrown onto the blaxploitation filmmakers or Sidney Poitier haven't been put onto Spike as much-- his endings stumble, his messages are sometimes unclear. His importance in the movement of African-American cinema as it exists today cannot be understated.

Now, has his importance as a filmmaker stumbled a bit? Sure. He's had his share of missteps. Hopefully, with Miracle at St. Anna, he can go back to making important films that people go to see. But to say he hasn't had an impact on the cinematic community, or that his films haven't had an impact on America in general, is absurd. And in terms of comparison with the Coens, who have made stylistic impact on other contemporary filmmakers and have made critics and scholars fascinated for years, Spike's impact simply reaches farther and hits deeper.

My movies: http://russellhainline.com
My movie reviews: https://letterboxd.com/RussellHFilm/
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and the lack of a response shows just how much of a point ol boy had



-----
No one ever went broke underestimating the intelligence of the American public. (c) HL Mencken or some other motherfucker.

thr lack of response signifies that

a) i went to lunch

b) while a nice response, it's largely off-the-point from what i was talking about... and i'm pondering whether or not to expend the energy explaining the reasons why

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

>She's Gotta Have It is a very important film for the
>depiction of black women on screen alone, let alone its merit
>in the critical circles for both black and feminist film
>scholars. The argument can be made (and has been made) that
>for the first time, a black woman wasn't simply a mammy, or a
>lustful object, or a violent empowered sassy asskicker. She
>was a complex creature, a person worth examining further. That
>alone is a first-foot-in-the-door for the re-evaluation of the
>depiction of an entire group of human beings in American film.

that tells me why She's Gotta Have It is an IMPORTANT film... it doesn't tell me why it is an INFLUENTIAL film. which was the point.

(and by the way, a lot of feminists have SERIOUS issues with this movie--and rightly so. that's neither here nor there, though)


>Do The Right Thing inflamed America in a way that no film
>about race had since, I don't know, In the Heat of the Night.
>There was never a moment where someone took the Academy Awards
>stage and stated their outrage over the lack of a nomination
>for a Coen Brothers movie-- one might hypothesize that
>Basinger speaking out on the Oscars about DTRT being robbed
>played an ENORMOUS part in the painting the portrait of the
>old racist Academy that has led to so many black actors
>getting Oscars as of late. And its timely release then made
>the impact even more hard-hitting-- and shit, it's still
>extremely relevant to this day. DTRT is the modern-day
>benchmark for every contemporary film on race. Every one.


again: the issue was INFLUENCE. not IMPORTANCE.


>One could even say that the film Malcolm X helped mold the
>perception of Malcolm across America, not just with black
>folks, but with everyone. You could talk about about the
>liberties Spike took with the history, and whether that was
>irresponsible in dealing with this subject matter, but Malcolm
>X to this day gets shown in classrooms all over America, and
>plays a very heavy part in the perception of an important
>American figure's history.

*sigh*

you know what i'm gonna say.


>And I haven't even touched on Spike's importance as the first
>black filmmaker celebrity of his era. The criticisms of
>stereotyping thrown onto the blaxploitation filmmakers or
>Sidney Poitier haven't been put onto Spike as much-- his
>endings stumble, his messages are sometimes unclear. His
>importance in the movement of African-American cinema as it
>exists today cannot be understated.
>
>Now, has his importance as a filmmaker stumbled a bit? Sure.
>He's had his share of missteps. Hopefully, with Miracle at St.
>Anna, he can go back to making important films that people go
>to see. But to say he hasn't had an impact on the cinematic
>community, or that his films haven't had an impact on America
>in general, is absurd. And in terms of comparison with the
>Coens, who have made stylistic impact on other contemporary
>filmmakers and have made critics and scholars fascinated for
>years, Spike's impact simply reaches farther and hits deeper.


sorry, Frank... this is all off-point. but a good post, nonetheless.

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

If you're defining it purely as influence on other directors, since most indie directors nowadays are ironic white guys, and the Coens are ironic white guys, yes, I will concede that the Coens have influenced a larger number of directors whose films make the multiplex than Spike.

I was defining it more along the lines of the influence on the world as a whole. And in that regard, it's Spike all the way, no question.

And I agree that there are as many feminists who take offense to She's Gotta Have It as there are to those who embrace it. It depends what side of the fence you fall on (and truth be told, I tend to agree with those who take offense if I think too much about it). However, the point is, here's a depiction of a complex black woman, no judgments made on her decisions, it's left for us to decide. Folks could see a woman embracing her sexuality, a woman who isn't ready to concede her independence for a less-than-perfect relationship, or a woman who just can't be satisfied by all the dicks in the world. The point is more in the complexity than in the conclusion, since I don't think everyone will have a uniform opinion on what the ending means.

My movies: http://russellhainline.com
My movie reviews: https://letterboxd.com/RussellHFilm/
My beer TikTok: https://www.tiktok.com/@thebeertravelguide

>And I agree that there are as many feminists who take offense
>to She's Gotta Have It as there are to those who embrace it.
>It depends what side of the fence you fall on (and truth be
>told, I tend to agree with those who take offense if I think
>too much about it). However, the point is, here's a depiction
>of a complex black woman, no judgments made on her decisions,
>it's left for us to decide.


*SPOILER*


when Jamie rapes her at the end, he is absolved of it... in fact, Spike can't even bring himself to admit that he has committed any crime, having Nola utter the awkward line "your near-rape of me."

there IS the implicit message that she kinda deserved it.

any open-endedness to the story is merely a function of Spike's inability to end a narrative to save his life.

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

...that the answer to the question depends on which "influence" one is referring to?

I would also argue that if there were even a fraction as many black filmmakers that hit the multiplex as there were ironic white directors, the question of influence upon filmmakers would also clearly go to Spike.

And as for She's Gotta Have It... that deserves its own post, I believe, lol.

My movies: http://russellhainline.com
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for the record, i must state though: when i introduced the whole issue of "influence," i was referring speficially to ARTISTIC influence.

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

>however, it doesn't exactly obliterate the legions of
>disciples spawned by Raising Arizona alone--Guy Ritchie, Wes
>Anderson, Napoleon Dynamite, Smokin' Aces, etc.

INTERNATIONAL INFLUENCE>>>>>Local influence

Sorry

You're wrong

I mean, lots of people are influenced by lots of random
ass filmmakers.

La Haine was a GENERATION-defining film and one of the
most powerful of its kind, ever made

and it is NOT MADE if not for Spike Lee and Do the
Right Thing

You're wrong

admit it






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O_E: Your Super-Ego's Favorite Poster.



"I ORBITs the solar system, listenin..."

(C)Keith Murray, "Cosmic Slop"

>
>>however, it doesn't exactly obliterate the legions of
>>disciples spawned by Raising Arizona alone--Guy Ritchie, Wes
>>Anderson, Napoleon Dynamite, Smokin' Aces, etc.
>
>INTERNATIONAL INFLUENCE>>>>>Local influence

i could name a whole bunch of French movies that evoke a distinct Coen Brothers influence (i wouldn't expect you to know them, though)--and some of them would include movies by/featuring Mattieu Kassovitz, the director of La Haine.

sure, he was influenced by Spike on ONE movie (actually... to be fair, his previous movie, Cafe Au Lait, had a little She's Gotta Have It thang going on) but he was also influenced by the Coens. as were many, many other filmmakers.

it's pushing it to call La Haine a "generation-defining" film... what torrent of films of its kind followed it? most contemporary French movies look WAY more like they were influenced by the Coens (whether or not they directly were)

i've already named a whole bunch of filmmakers/films that consciously build off of the Coens... not to mention the influence they have had on TV shows (eg Pushing Daisies, My Name Is Earl, Dead Like Me, Ugly Betty)

you gave me La Haine. and i was charitable enough to upgrade you with Cafe Au Lait/Metisse.

i think Coens still have the advantage there.

________________

"Do you know what a nerd is? A nerd is a human being without enough Africa in him or her." © Brian Eno, "A Year With Swollen Appendices"

>i could name a whole bunch of French movies that evoke a
>distinct Coen Brothers influence (i wouldn't expect you to
>know them, though)--and some of them would include movies
>by/featuring Mattieu Kassovitz, the director of La Haine.

Not to the extent that Kassovitz was influenced by
Spike Lee. It was damn near a direct rip off, but
done beautifully.

>sure, he was influenced by Spike on ONE movie (actually... to
>be fair, his previous movie, Cafe Au Lait, had a little She's
>Gotta Have It thang going on) but he was also influenced by
>the Coens. as were many, many other filmmakers.

Again, not to the extent that he was influenced by
Spike Lee.

I mean, jesus.

And seriously, MOST contemporary films that have something
to do with race were influenced by Spike Lee...he completely
paved the way for anyone to discuss these issues responsibly
on film.

'Crash,' for example, most certainly was influenced
by Spike's work.

Lots of other films too.

>it's pushing it to call La Haine a "generation-defining"
>film... what torrent of films of its kind followed it? most
>contemporary French movies look WAY more like they were
>influenced by the Coens (whether or not they directly were)

No, it predicted the ethnic riots that rocked France
a decade later. Thousands of European ethnic minorities
list that film among their very favorite, and I've seen it
lauded and screened at institutions across the country.

It was a very, very, very, very, important film.

Its not some dumb, rinky dink comedy or a sitcom.

Its a very, very, important film.

>i've already named a whole bunch of filmmakers/films that
>consciously build off of the Coens... not to mention the
>influence they have had on TV shows (eg Pushing Daisies, My
>Name Is Earl, Dead Like Me, Ugly Betty)

Good. None to the extent that Haine

>you gave me La Haine. and i was charitable enough to upgrade
>you with Cafe Au Lait/Metisse.

I can go with 'Crash' and many, many, others.

But again -- that's not the point. Ed Wood influenced
lots of filmmakers. Lots of silly willy nilly B movie
directors influenced lots of filmakers. Few have done it
as meaningfully, to contexts as important as Spike Lee
has.


----------------------------


O_E: Your Super-Ego's Favorite Poster.



"I ORBITs the solar system, listenin..."

(C)Keith Murray, "Cosmic Slop"