I’d say definitely better for black actors. You’ve got people like Denzel (Washington), and Will (Smith), Chris Tucker, and Martin (Lawrence). You know, making $20 million now per film. So it’s definitely better for them. Not so much for African American directors, but it’s a lot better than it was back in 1986. And I would like to say also that it was Robert Townshend’s film Hollywood Shuffle that also changed the landscape. So together She’s Got to Have It and Hollywood Shuffle.
“I think any artist, that’s their role to stimulate and provoke…”
Right. Those two films blew the door wide open. So let me ask, are things better as far as the perception of African Americans in the media?
I think it’s opened up a little bit, but it really depends what you’re talking about. This film was the hardest film to get made. If New Line didn’t come at the last moment I wouldn’t be talking to you right now. Nobody wanted to make this film.
In Bamboozled, Pierre Delacroix says he wants to “wake up America.” Is this film going to do it? What will it take?
Well, it’s going to take more than a movie. I think any artist, that’s their role to stimulate and provoke. You’re not necessarily going to get answers from the artists, but you know it’s their job. It’s their job to reflect the times they live in.
The film criticizes Quentin Tarantino’s liberal use of the “N-word” – if you could talk to him face-to-face, what would you say?
I met Spike Lee three years ago at Tribeca Film Festival I was working for the fest at the time. I actually had a Film Threat hat on and he was walking by me I saw him looking at my hat. He actually gave me a head now and stuck his hand out and shook my hand. I told him seeing School Case as a kid was one of the reasons I got into film. He’s a super cool humble guy.