Spike Lee film depicts soldiers he wanted on big screen: Black
‘Miracle at St. Anna’ comes after criticism of Clint Eastwood movie
The Atlanta Journal-Constitution
Wednesday, September 24, 2008
Saying it was a miracle that Spike Lee’s “Miracle at St. Anna” was even made may be going a bit far.
But it’s Spike Lee talking — so, of course, he does.
David Lee / On My Own Productions
Matteo Sciabordi, Omar Benson Miller From left to right, Matteo Sciabordi, Omar Benson Miller and Michael Ealy in the Spike Lee film ‘Miracle at St. Anna.’ It chronicles the story of four black American soldiers stationed in Tuscany, Italy during World War II.
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He even said he had to “will it into being.”
That would surprise many, considering that the last feature film the Atlanta native made, “Inside Man,” was a commercial success. The $45 million heist movie starred Denzel Washington, Jodie Foster and Clive Owens and grossed a reported $140 million worldwide.
Alas, no big stars are in “Miracle,” a film adaptation of James McBride’s novel about four members of an all-black Army infantry unit stranded behind enemy lines during World War II.
And the most buzz about it may have happened months ago, when the notoriously outspoken Lee criticized actor-director Clint Eastwood for not having any black soldiers in his “Flags of Our Fathers.” Eastwood fired back that Lee should “shut his face.”
Just before Thursday’s release of “Miracle,” Lee seems to have taken Eastwood’s directive — at least about that back and forth.
“I have no comment about that whole Clint Eastwood thing,” he said by phone Tuesday.
Still, a gracious Lee talked — albeit, surprisingly haltingly, and carefully — about “Miracle,” Atlanta and what kind of professor he is at New York University’s Tisch School of the Arts:
Q: Explain how a director coming off the most successful feature film of his career has to “will” his next movie into being?
A: “Making a film is like pushing a rock up a hill. It’s not a mountain — but it’s an enormous task. I mean, the last couple of projects of mine kind of fell apart. So I got on a plane, went to Italy and met with my Italian producers. And I said, ‘We’re going to start shooting this film Oct. 10.’ This was like July 2. And at that time we had no money.
“But I was determined that we get this done. I had faith in the material. I had faith in my Italian producers. And I had faith in general. I believed in miracles; and the fact that this film was made is one.”
Q: That still doesn’t quite explain why this was hard for you to get financed.
A: “It’s not just me. And let me make this clear because I know the story these days is that I’m out here whining and complaining. No. It’s just a very hard climate now. To get films made. Especially if you’re not Spielberg or George Lucas or Clint Eastwood. People like that.
“It’s very hard if it’s not about super comic book superheroes, or turning old TV shows into movies and sequels; or some other high concept film with stars attached to it. It’s hard to get films made. That is the economic climate.”
Q: So what about “Miracle” are you most proud of — other than getting it done?
A: “Everyone was up for the challenge — in front of and behind the camera.”
Q: It’s noteworthy that we get to talk to you this week, when a fellow Morehouse man has the No. 1 film in the country (“Lakeview Terrace”)— not to mention that Samuel L. Jackson got some of his first, major exposure in your movies; same with (“Lakeview” co-star) Kerry Washington, Wesley Snipes, Queen Latifah and so on. Would you consider that one of your strengths as a filmmaker being able to identify talent early on?
A: “Yeah, people know that about me. You can point to ‘Do The Right Thing,’ Rosie Perez’s first movie. And Martin Lawrence. ‘Clockers’ for Mekhi Phifer. ‘Jungle Fever’ — Queen Latifah.
“We’ve always tried to give a spot, have a role for young, talented people. To me, there’s always been an abundance of talent; they just need a vehicle for that talent.”
Q: Were you’re giving Laz Alonso that platform? What struck you about him?
A: “My thing is finding the best people for the part. Making sure that they fit that criteria. … I was very impressed with his audition. Plus he had to learn Italian — and he knocked that out of the box. Laz Alonso did a masterful job.
“The last thing I saw Laz in was ‘Stomp The Yard.’ I was very impressed. And you know, that was shot in the [Atlanta University] Center there in the ‘A.’ Like [Lee’s] ‘School Daze’”
Q: Speaking of Atlanta moviemaking, what’s your take on what Tyler Perry has brought to your industry?
A: “Tyler’s doing a great job. He’s found his niche, his audience, and he’s cranking ‘em out. Making a ton of money. I have nothing but good things to say about Tyler Perry.”
“What’s happening in Atlanta moviewise is great. Everything can’t be in New York and L.A. And the more places movies are happening the better it is for everybody.”
Q: You discovered that you wanted to be a filmmaker while you were here at Morehouse, right?
A: “Yeah, you know, I couldn’t find a job so I just went around filming things with this Super 8 Camera I had. It was something to do for the summer.”
“I made it into the ‘Last Hustle In Brooklyn’…about some of the looting that happened in 1977…And Dr. Herb Eichelberger at Clark AU was very instrumental in making me think I could be a filmmaker. He was the first person who thought I had potential. And he really pushed me.”
Q: What kind of professor are you?
A: “I’m hard. Again, that’s how I was taught. And this business is not easy.”
Q: Give us an update on the next Spike Lee films. What’s happening with the James Brown biopic?
A: “Limbo.”
Q: Still want Wesley Snipes to star in it?
A: “Yes.”
Q: What about your film on the 1992 Los Angeles riots?
A: “We’ll see. You know it’s quite common for filmmakers to have three or four things happening at the same time. And the one that gets the money, you go with!”
“So now I’m wrapping up this documentary on Kobe Bryant for ESPN. And there’s this Broadway musical ‘Passing Strange’…that’ll probably go to HBO or Showtime.
“I just got out of a meeting about something, that went well. But I can’t talk about it yet.”
Q:. That rock still has a hill to climb.
A: “Exactly!”
