So many people - DPs, writers, and the assistants that go on to be directors and writers - come from the School of Spike Lee. He's almost set up an Institution of Spike Lee.

The first black girl book I fell in love with was most likely 'Please, Puppy, Please' by Spike Lee and Tonya Lee.

It's been a twisty-turny path for me. I was studying to be a history professor, and then I left that, went to film school, and tried to be like my heroes, like, Spike Lee and Hal Hartly.

I grew up with Woody Allen and early Spike Lee movies in which New York was such a specific character. The city has a certain vibe and beat which really informs your entire existence.

I've been working with good directors - the Wachowski brothers, Spike Lee, Terry Gilliam, Mel Gibson... I love American movies, but I love European movies, too, and I want to do both.

I would still work with Mel Gibson! He's talented, man! Come on, he came up with 'Apocalypto,' man! I want to work with this guy. I've worked with Steven Seagal. He's out of his mind. I mean, I've worked with Spike Lee for four films. I've worked with some people that you can say are right there teetering between genius and madness.

I'm a huge Spike Lee fan. I saw 'Do The Right Thing' twice in the same night when it first came out and had long conversations with all my friends about the issues in it.

Working with Spike Lee was a dream of mine. It was amazing to be able to collaborate with such a visionary.

Spike Lee gave me the greatest reaction to the fact that I was this athlete-meets-artist, because I think he saw that I was different. I learned that oftentimes, Spike directs in a sense that he might just stare at you and look at you in a telepathic way of communicating.

Spike Lee is part of a retrograde movement in this country.

'Straight Outta Compton' is my first biopic, my first period piece, and I got a chance to kind of get out there like some of my idols, you know, like Scorsese, Spielberg, Spike Lee, the guys who came before me. You know, I'm feeling good about it.

I'm such a fan of actors and also enjoy watching them work so that I can help their acting in any way I can. Sometimes it walks a tricky line because you want to be entertaining to some degree. But honesty is always entertaining to me. I'm a big Woody Allen and Spike Lee fan, and I find their films to be very honest.

I'm going to have to call up Spike Lee. I did a cameo for him in 'Malcolm X,' and I'm trying to get him to do my life story and the history of the Black Panther Party.

I really admire Werner Herzog and Spike Lee. They're amazing documentarians. If you took away all the narratives, they'd just be amazing documentarians.

I'm interested to see what happens to Spike Lee with limited resources, you know? I love Spike Lee's movies. But you know what? I kinda liked his movies when he used to scramble and fight more for them.

I'd like to state that Spike Lee is not saying that African American culture is just for black people alone to enjoy and cherish. Culture is for everybody.

Ah, there's a director. Astonishing, Spike Lee. A feisty guy, but a guy who's, I think, incredibly misunderstood. I think people review his politics or his color as opposed to his filmmaking sometimes. Because he's a wonderful, wonderful filmmaker and a lover of the art.

'Rent' was a special project for me. It was my first notable screenplay job. I worked with two wonderful directors on it, starting with Spike Lee in the summer of 2001. I wrote a draft for Spike and he was really good to me.

I guess I feel like it's a gift to meet those talented artists like George Lucas and Oliver Stone, Spike Lee and Richard Kelly. Even if it's a small role, it's a gift to be working that closely with them.

I am what I am as a writer because of Norman Lear and Spike Lee. Norman Lear in particular.