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Spike Lee Talks ‘Oldboy,’ Studio Interference, ’12 Years a Slave’ (and, Implicitly, ‘Django Unchained’) and More in NYT

Spike Lee Talks 'Oldboy,' Studio Interference, '12 Years a Slave' (and, Implicitly, 'Django Unchained') and More in NYT

Spike Lee’s “Oldboy,” a remake starring Josh Brolin of Park Chan-wook’s now cult revenge classic, hits theaters November 27. Lee is profiled today in the New York Times and, as is to be expected, has some no-bullshit things to say about the lasting appeal of revenge films, his personal connection to the theme of fatherly guilt in his new film, Steve McQueen’s “12 Years a Slave” (and, implicitly, Quentin Tarantino’s “Django Unchained”) and more. Highlights below.

On the appeal of revenge films:

“Rage doesn’t have to fester for years, but revenge? That
stuff takes time. It’s the oldest staple of films, in stories. It goes back to
the Bible… The reason revenge films have been so popular is because people
don’t go as far as doing the act, so they live vicariously through characters,
like Charles Bronson in ‘Death Wish,’ or Dirty Harry. You know, Peter Parker
was pushed around: They stepped on his glasses. That’s how we get these huge

On fatherly guilt in “Oldboy,” and in Lee’s own life:

“How many fathers haven’t been around for their children’s
birthdays, or their first step, because they were working? Especially now that
my daughter’s older — she’s a freshman at N.Y.U., in the film school — I
think of all the times I was away, shooting a film or a commercial. [Laughs] O.K.,
or at a Knicks game. And when you miss it, it’s gone. That’s a lot of guilt.

That’s the core of the movie. For Josh, because he has a daughter… it was something he could connect with: What would that be like if you
can’t be with your kids?”

On the centerpiece scene where Josh Brolin takes revenge on his opponents with a hammer, and why the studio cut it from one extended shot:

“It’s not one shot. There’s a cut in it. Shouldn’t be, but
there is a cut. Tough business. That’s all I’m going to say. Tough business. There’s
no reason to try and even attempt that shot unless it’s a one-take. That’s the
scene from the original! That’s the scene! Two words: tough business…Three
words. Tough motherfucking business.” [“Motherfucking” excerpted from NYT.]

On “12 Years a Slave” director Steve McQueen, black cinema
(and an implicit swipe at Tarantino’s “Django Unchained”):

“I love Steve McQueen’s work. I know it will treat slavery
as the holocaust that 400 years of slavery was. Not a cartoon. Not an action

Every 10 years, I’ve read the same articles. I remember
reading them one year, when Denzel won for ‘Training Day,’
Halle Berry won for ‘Monster’s Ball,’ and Sidney Poitier won an honorary award.
And then what happened?

We’ve been getting these new black cinema waves every 10
years or so since 1986, when I had ‘She’s Gotta Have It’ and Robert Townsend
had ‘Hollywood Shuffle.’ For me, I just wish it was consistent, and not this
feast or famine thing that’s been going on.”

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