Lee Daniels

“I already see the first film that I like. Fellini’s 8½. Fellini is my god, my hero... Fellini made it... Made it possible for me to think that I was a filmmaker. Because none of his stuff makes sense really, really, at the end of the day. But it does make sense. And I don’t make sense. Yeah, I love it.”

“When I think of my work, you know, I... I think it's, like– Do the Right Thing. I think of myself as... I don't know, I feel like I'm a... Definitely influenced by European directors, by, you know, Spike Lee– Black directors, by gay filmmakers. A little Euro, a little ghetto, a little homo.”

“Whoa! Whoa, whoa, whoa. Querelle, baby doll. Querelle, man. Insane. Brad Davis was a god here. I think Jeanne Moreau's in it, too. Yeah, Jeanne Moreau is a beast. This was exciting. This was an exciting film for me.”

““I've got lots of trouble... Female Trou–.” So I took my mother to see John Waters– and my aunt, to see John Waters's film. I think that was another turning point. I think I was 19, in Philadelphia, and I took my mother and my aunt to see this. And at the end of it, you know, my aunt a little old Black lady, slapped me in the face. And I knew at that moment that I want– I knew for sure I wanted to be a director, because that's– I wanted to make people feel the way she felt. To me, it's not about just Feeling Good. It's about, “What have I experienced?” And it made my aunt experience something she had never seen before.”

“Pickup on South Street! Yo. This is another one that just threw me into a loop. Thelma Ritter is off the chain. Fuller. Sam Fuller. Let me tell you something. Yo, this cat right here... He had the lead guy punch a woman in the stomach in the subway. I've never seen anything like it before. Again, risk-taking that... That you just don't see. Yeah, don't get no better than this one.”

“Jane—Jane's The Piano. The Piano... You know, taught me to be quiet. And Jane does that. She sits with people. Where Cassavetes is moving it, moving it all around, you know, Jane is still. And, you know, taught me to be still with the camera.”

“Oh, my gosh. So, Claudine... Claudine reminds me of my mom. My mom was elegant– is elegant. She raised five kids on her own. And, after my dad was shot and killed– he was a police officer– killed in the line of duty, my mom took us to see this in Philadelphia, West Philly, at the Locust Theatre. And... It– I couldn't believe I was seeing my life on screen. We all walked out of the theater holding hands. And I didn't understand what filmmaking was at the time, I think I was probably nine when this came out. But I saw my mother smile after my dad's death, and I wanted to make her... Smile. So I think that this is it. It's very dear to my heart. And Gladys Knight's and the Pips' soundtrack, Curtis Mayfield's soundtrack on this is just a beast. I play it. It's my workout to this day.”

“Spartacus! Oh, man. It’s funny, you know, you get in here and you realize you’re influenced by so many... So many filmmakers. And they sort of... They’re etched in your head, and you’re trying to... You are this. I am this bag, you know. I bring all of this to the table when I’m directing.”

“And guess what, they said in case I'm interested... Ha! I'm taking this one home, y'all! Okay? Whoa! Fellini is my god, my hero... Fellini made it... Made it possible for me to think that I was a filmmaker. Because none of his stuff makes sense really, really, at the end of the day. But it does make sense. And I don't make sense. Yeah, I love it. Thank you.”