MasterClass: Spike Lee Teaches Independent Filmmaking

Big mistake when you choose your DP based on a reel.

Anybody could put together a one-minute sizzle reel.

Look at something they've shot that has length to it.

Directors should audition everybody, just the same way

you audition actors.

You audition your DP.

You audition your editors.

Look at their work.

What have they done?

What have they done in the past?

Is it similar to what you're about to do?

Doesn't have to be.

Have people read the script and tell you how they see the film.

How do they think they will film it?

It's an audition.

You know, they're applying for a job.

And you're the boss.

And these hirings you're going to make

are very crucial to the film.

Hire DPs who have more experience than you.

And rely on their experience to help you

with just how to shoot a film, how

to tell a story with the camera.

And that includes colors, lighting, camera movement,

what particular lens you use, all that stuff.

You make a mistake and get the wrong DP,

the wrong production designer, the wrong costume designer,

then, you know, you're ass out.

You have to really be rigorous and vigilant in hiring

the people who you are trusting the look of the film.

And what I've looked through over the years

in a cinematographer is someone who

can elevate my visual sense, and show me stuff

that I had not thought about.

I mean, I don't need someone who could do everything I say,

or not have anything beyond what I want.

I need somebody to--

I mean, you want that from all your crew heads.

It's not a mistake that many directors only work with--

have long, long relationships with DPs.

Spielberg and Janusz Kaminski.

How many films they've done together?

Well, I was very fortunate.

I've been blessed to work with great cinematographers.

And first and foremost is Ernest Dickerson,

who was shooting my films at NYU.

Then the features.

"She's Gotta Have It."

"School Daze."

"The Right Thing."

"More Better."

"Jungle Fever."

"Malcom X."

Once you find somebody who understands what you want,

you don't have to have any bickering

or major disagreements.

That's someone that you want to keep working

with for a long, long time.

What we're trying to do

is make eight weeks look like one day.

So we've broken down the script into scenes

that are going to be taking place

at certain times of the day.

We're trying to shoot at those times of the day.

I've always been an advocate of available light

as much as possible.

And using natural light, I think this is--

I guess this is taking it to a ridiculous extreme.

You know, cause it's really making life

a little bit hard for us.

But I think we'll just come out with more

truth on the film that way.

You should really try to find a DP, number one, that

knows what they're doing, but also that is fast.

You have limited resources, a limited budget.

If you have a limited budget, it determines how many days

you shoot.

The more money you have, the more days you can shoot.

The less money you have, the less money you can shoot.

You have to get your day.

And if you don't pick your DP very carefully,

he, she could jam your ass up.

You don't want someone that's just rush,

rush, rush, and get the shot.

But still, someone who could still work at a nice pace

and get what you want.

Otherwise, it's hard enough to make a film without all

this other stuff happening.

Even with the great DP it's hard to make a film.

And another thing, which is people don't think about,

actors come to the set ready to work.

Like, did they get their hour, hair, makeup, wardrobe.

They are ready to work.

They don't want to spend the rest of the day

in their camper waiting to be called to set.

A young director, you cannot have somebody who thinks