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I don't really analyze my stuff when i write. i write about stuff that i'm interested in, that i'm feeling at that particular time. when i stand back and look at the complete work, i might see themes that run through the whole film, but i'm not really conscious of it when i'm doing it.

-Spike Lee

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I Don't Really Analyze My Stuff When

Spike Lee

I don't really analyze my stuff when i write. i write about stuff that i'm interested in, that i'm feeling at that particular time. when i stand back and look at the complete work, i might see themes that run through the whole film, but i'm not really conscious of it when i'm doing it.

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    <p style="font-size: 1.2rem; font-style: italic; margin-bottom: 10px;">"i don&#039;t really analyze my stuff when i write. i write about stuff that i&#039;m interested in, that i&#039;m feeling at that particular time. when i stand back and look at the complete work, i might see themes that run through the whole film, but i&#039;m not really conscious of it when i&#039;m doing it."</p>
    <footer style="font-size: 1rem; font-weight: bold;">— Spike Lee</footer>
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Running Writing Feelings

More From Spike Lee

We learnt a lot because we got in with real choreographers who tell you what they need from a song, because a song has to advance the story. then real directors like mike nichols tell you where you can have 'b themes' and 'c themes', and we go oh yes, b themes and c themes! so we were taught in the finest school amongst the finest people. and also by the school of experience.

Even still, we run. we have not reached our average of 57.92 years without knowing that you run through it, and it hurts and you run through it some more, and if it hurts worse, you run through it even more, and when you finish, you will have broken through. in the end, when you are done, and stretching, and your heartbeat slows, and your sweat dries, if you've run through the hard part, you will remember no pain.

You've probably heard about the theory of steam-engine time - that even after the steam engine had been invented, it had to wait until people were ready to make use of it. the same thing happens in literary circles. the truth is, i'm not terribly interested in victorian times; i'm interested in victorian writers. i'm interested in most eras of history, but not the victorian era especially. i was interested in the john franklin expedition. i was interested in these last five weird years of dickens' life. and i just have to take the age that comes with all that when i write about it.

[robert] ford had the idea that through fame he would receive some personal validity, but he didn't. i feel that these are not the main themes, but certainly themes that are at play in this film [assassination of jesse james].

No theory changes what it is a theory about. nothing is changed because we look at it, talk about it, or analyze it in a new way. keats drank confusion to newton for analyzing the rainbow, but the rainbow remained as beautiful as ever and became for many even more beautiful. man has not changed because we look at him, talk about him, and analyze him scientifically. ... what does change is our chance of doing something about the subject of a theory. newton's analysis of the light in a rainbow was a step in the direction of the laser.

There is something that might be called cinematic beauty. it can only be expressed in a film, and it must be present for that film to be a moving work. when it is very well expressed, one experiences a particularly deep emotion while watching that film. i believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.

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