Words with Spike Lee

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A. How does a white director have a copyright on epics? What, a black director is only supposed to do small little films that take place in ghettos or in the projects? I can't shoot a film like a white director? That's bull.

Q. Why did you include Rodney King and Nelson Mandela in the film?

A. Because the stuff Malcolm X talked about is still with us today. I still feel African Americans are second citizens in this country, just like Malcolm said.

Q. Why is the film so long?

A. Because there was so much to tell, and this was not going to be an abbreviated, abridged version of Malcolm X.

Q. Were you too respectful of Malcolm?

A. No. If we were too respectful, we would never have had Malcolm snorting cocaine, or had a white woman kiss his foot. There's a difference between respect and love. I think that if you see this film, our love for Malcolm is up there on the screen.

Q. No matter what you did, there is going to be criticism. Where do you think it will come from?

A. Criticism is going to come all over. It's going to come from people like ((writer Amiri)) Baraka who felt I was too bourgeois to do this film. And it's going to come from the other side: people who believe that I'm a racist and antiwhite and anti-Semitic and preach hatred.

Q. What will this movie's success or failure mean for you and other black filmmakers?

A. First of all, this film is not going to be a failure. This film is going to be a big hit, and it's really going to crumble that old, tired Hollywood axiom that the white moviegoing masses are not going to see a black film that's a drama, or a film that's not a comedy and musical, or that doesn't have Eddie Murphy in it. Because no matter what lip service those executives say, that is still their belief. Just look at TV. Every single show that is about black folks, they're all situation comedies. I mean, you can't get drama out of our lives? But that's because they feel that white people won't be interested. I really think they're underestimating the intelligence of the white moviegoing masses, who will see anything if it's done good.