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I live in New York City, the stories of my films take place in New York; I'm a New York filmmaker.
I like to work with the same people when I can, and you want to get people with the same interests that you have, and the same aesthetic.
I get offered to do stuff where the money's nice but it's not something I want to do - I get offered a lot of commercials too.
I don't dictate, you don't dictate to Stevie Wonder, not successfully.
I always give the example, if you turn on the radio today, black radio, Lenny Kravitz is not black. Bob Marley wasn't black: in the beginning, only white college stations played Bob Marley.
Fight the power that be. Fight the power.
Everything I do is always scrutinised. But that's all I'll say about that.
Don't think that because you haven't heard from me for a while that I went to sleep. I am still here, like a spirit roaming the night. Thirsty, hungry, seldom stopping to rest.
Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.
Any film I do is not going to change the way black women have been portrayed, or black people have been portrayed, in cinema since the days of D.W. Griffith.
All directors are storytellers, so the motivation was to tell the story I wanted to tell. That's what I love.
A lot of times, we censor ourselves before the censor even gets there.
A lot of times you get credit for stuff in your movies you didn't intend to be there.
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