Lee, Spike

Subterms

    More stories

    • 113 Shares99 Views

      in Theater

      Brooklyn Academy of Music Plans a New York-Focused Season

      by

      In its first full season since the start of the pandemic, the organization will feature a mix of new and familiar works in dance and theater.There will be dances exploring Black love and relationships, theater works highlighting the impact of technology on daily life and an appearance by the filmmaker Spike Lee.The Brooklyn Academy of Music will focus its coming season on the artists of New York City, the organization announced on Friday, as it seeks to bounce back from the coronavirus pandemic.“This is a season to celebrate artists who give New York City a sense of possibility, a sense of wonder, a sense of effervescence, a glow, a bit of magic,” the academy’s artistic director, David Binder, said in an interview. He said the academy wanted to create a season to mark New York’s recovery from the pandemic, which brought many of the city’s cultural institutions to a standstill for more than 18 months.The season, which runs November to March, is the academy’s first since the start of the pandemic. As the organization tries to lure audiences back to its stages and recover millions in ticket revenue lost during the pandemic, it will feature a mix of familiar hits and new works.Dance will be front and center, starting in November with the world premiere of “The Mood Room,” a Big Dance Theater production, conceived, directed and choreographed by Annie-B Parson. The show, which takes place in Los Angeles in 1980, mixes dance, theater and spoken opera to explore the effects of Reaganism.The dance lineup also includes Reggie Wilson’s “Power” in January, and the New York premiere of Kyle Abraham’s “An Untitled Love,” in February. The work, set to neo-soul music, is described as an “exaltation of Black love and unity.”Also in February comes Pam Tanowitz’s acclaimed “Four Quartets,” a staging of T.S. Eliot’s poems. When it had its premiere at Bard College’s Fisher Center for the Performing Arts, in 2018, Alastair Macaulay, writing in The New York Times, called it “the greatest creation of dance theater so far this century.”In March, the Mark Morris Dance Group will perform Morris’s classic “L’Allegro, il Penseroso ed il Moderato” (1988), set to Handel’s oratorio.There will be theater and cabaret offerings as well. In March, SITI Company, the noted experimental New York theater company, will stage “The Medium,” a minimalist meditation on the role of technology in society.The cabaret performers Justin Vivian Bond and Kenny Mellman will star as their alter egos Kiki and Herb in a new holiday special, titled “SLEIGH,” which will premiere after Thanksgiving.In December, Lee will appear alongside his brother for a conversation about the filmmaker’s new book, “SPIKE,” a visual look at his career.With coronavirus cases still high, it remains to be seen whether audiences will turn out at prepandemic levels, but Binder said he believed many people were clamoring for live performances. The academy’s brief fall season, which opened in September, has attracted several sold-out crowds, he said.“It seems New Yorkers are really hungry to get back into the theater,” Binder said. “I feel very optimistic and excited.” More

    • 75 Shares149 Views

      in Music

      Listen to the Essential Terence Blanchard

      by

      Spike Lee scores, daring jazz: Here are highlights from the varied career of the composer of “Fire Shut Up in My Bones” at the Metropolitan Opera.Like Wayne Shorter — to whom his newest album, “Absence,” is dedicated — Terence Blanchard is the rare jazz star whose renown as a composer almost overshadows his reputation as a daring and stylish improviser. Almost.Blanchard, whose opera “Fire Shut Up in My Bones” opens the Metropolitan Opera’s season on Monday, rose as a jazz phenom in the early 1980s, taking over the trumpet chair in Art Blakey’s fabled Jazz Messengers after Wynton Marsalis left. Barely 20, he was a double threat even then: writing compositions of coiled energy and smartly woven rhythmic interplay, and improvising fiercely, cutting sharp turns and slipping into sly glissandos.He soon became Spike Lee’s musical other half, a relationship that helped to make film scoring into a primary vocation. And in the 21st century, he’s established himself as one of jazz’s most respected educators and spokesmen. Here are a few highlights from his discography.‘Ninth Ward Strut’ (1988)Throughout much of the 1980s, Blanchard led a band along with the alto saxophonist Donald Harrison — a fellow 20-something New Orleans native and Jazz Messenger — that became one of the standard-bearing groups of jazz’s Young Lions movement. In “Ninth Ward Strut,” Blanchard pays tribute to his hometown’s signature sound with a swinging second-line rhythmic underpinning, while pushing his own identity as a composer. The track is rhythmically suspenseful and harmonically jagged in a way that would become characteristic.‘The Nation’ (1992)Spike Lee tapped Blanchard to record the trumpet parts for Denzel Washington’s character in “Mo’ Better Blues” (1990), including on the film’s title tune, which became a kind of Young Lions-era classic. Lee soon began asking Blanchard to write scores — and he hasn’t stopped. “Malcolm X” (1992) was one of the first films Blanchard did, exploring an expanded palette of choral harmonies, strings and brass. He rearranged the music for jazz sextet soon after, and recorded it as “The Malcolm X Jazz Suite,” a restless and ambitious album for Columbia Records.‘A Child With the Blues’ (1997)Blanchard recorded this track with the neo-soul doyenne Erykah Badu for the soundtrack to “Fire Shut Up in My Bones” librettist Kasi Lemmons’s 1997 film “Eve’s Bayou.” Bantering with Badu, he pulls sassy glissandos from the horn and pushes her into pitter-patter rhythmic exchanges. (It later reappeared on a deluxe edition of the album “Baduizm.”)‘Dear Mom’ (2007)After scoring “When the Levees Broke,” Lee’s 2006 documentary about Hurricane Katrina, Blanchard adapted his compositions into a suite, as he had with the “Malcolm X” music. He released the results as “A Tale of God’s Will” the following year.Katrina was deeply personal for Blanchard, whose mother lost her home in the storm. Adoration and enervation course together on “Dear Mom,” as Blanchard plays a pas de deux with a large string section. The album won Blanchard the second of his five Grammys, for Best Large Jazz Ensemble Album.‘Can Anyone Hear Me’ (2018)For years, Blanchard has put a premium on working with younger musicians, and in his current quintet, the E-Collective, he’s assembled a wrecking crew of cutting-edge improvisers who regularly reimagine how jazz-rock fusion might work. On “Can Anyone Hear Me,” from a recent live album, Blanchard’s horn is encased in an electric bodysuit of distortion and effects, but the precision and counter-intuition of his soloing shines through. More

    • 138 Shares189 Views

      in Movies

      ‘25th Hour’: The Best 9/11 Movie Was Always About New York

      by

      While other directors edited out the twin towers from movies at the time, Spike Lee worked the tragedy into a story originally about other things.When Spike Lee came under fire last month for including 9/11 conspiracy theorists in his HBO documentary series “NYC Epicenters 9/11-2021½,” historians and others expressed disappointment that Lee had seemed to give credibility to long-debunked claims. (He subsequently edited them out.) But for those of us who’ve followed Lee’s career, and its intersection with that seminal New York event of 20 years ago, the initial decision was especially baffling — as Lee also directed what many consider the quintessential film about post-9/11 New York City.“25th Hour” is not a “9/11 movie,” at least not in the way that “United 93” or “World Trade Center” are. In fact, the attacks were not part of the David Benioff screenplay that Lee signed on to direct, nor were they part of Benioff’s original novel (which was published in January 2001). But Lee is an intuitive filmmaker, open to improvisation and adjustments — and, as “NYC Epicenters” reminds us, he is a documentarian who saw his city in a moment of mourning, melancholy and transition, and wanted to capture it.Most of Hollywood did not feel the same. In the weeks following the attacks, feature films with terrorism plotlines, including the Barry Sonnenfeld comedy “Big Trouble” and the Arnold Schwarzenegger vehicle “Collateral Damage,” were delayed and drastically re-edited. Films still in production, like “Men in Black II” and “Lilo & Stitch,” were rewritten to remove echoes of 9/11. Skyline shots with the World Trade Center were edited out of the not-yet-released “Kissing Jessica Stein,” “Igby Goes Down,” “People I Know” and “Spider-Man,” and a sequence of that superhero trapping a helicopter in a web between the twin towers — the centerpiece of a popular teaser trailer — was deleted as well.Most controversially, some filmmakers chose to leave their skyline shots intact, but to erase the Twin Towers with digital effects. And thus the World Trade Center was wiped from “Serendipity,” “Stuart Little 2,” “Mr. Deeds,” and Ben Stiller’s “Zoolander,” which hit screens less than three weeks after the attacks. The director’s publicist explained at the time that he made the last-minute decision to remove the towers because the film was an escapist comedy and seeing the buildings “would defeat that purpose.”Spike Lee disagreed. “You could not even show an image of the World Trade Center. “I said, we’re not doing that.” With filming on “25th Hour” planned for the following winter, Lee set about weaving 9/11 “into the fabric” of the existing story, as his star, Edward Norton, explained on the audio commentary: “It was like looking at it through the angle of another story, but the melancholy that the city was full of in that year afterward. I feel like the impact of 9/11 emotionally is all through this movie.”Spike Lee added a shot of the “Tribute in Light” installation after reading about it. Touchstone Pictures“25th Hour” is the story of Monty Brogan (Norton), a white-collar drug dealer whom we meet on the last day before he is to report for a seven-year incarceration. That night, he hits the town with his childhood pals (Philip Seymour Hoffman and Barry Pepper) and his live-in girlfriend (Rosario Dawson), ostensibly for one last blowout, but also in an attempt to come to terms with the choices — and thus, mistakes — he’s made in his life.So the explicit references to the tragedy are minimal. There is the opening credit sequence, featuring the “Tribute in Light” art installation, in which 88 searchlights combined to create two beams representing the fallen towers (Lee said he filmed it the very night he read about it in The Times); accompanied by Terence Blanchard’s moving musical score, these images say far more about the tragedy than any news footage or expositional dialogue could. Occasionally, ephemera of that autumn — American flags, makeshift memorials, wanted posters of Osama bin Laden — pop up in the background.One scene, lifted almost verbatim from the novel, finds Monty delivering a lengthy, angry, profanity-laden monologue into a mirror, meticulously insulting New Yorkers of every imaginable race, religion and class (before landing on his family, his friends and finally himself). Bin Laden and Al Qaeda were added to the list of his targets.Most poignantly, Lee relocated a scene between Hoffman and Pepper to an apartment overlooking ground zero, and placed the actors in front of a large window to view workers sifting for human remains. “New York Times says the air’s bad down here,” Hoffman notes; Pepper disparages the paper (“I read The Post”) and insists, “E.P.A. says it’s fine.” (The federal agency was later revealed to have misled the public.)In one scene, characters look out over workers at ground zero.Touchstone PicturesSome of the film’s initial critics found these additions to be an intrusion — A.O. Scott deemed them “obtrusive” and “a little jarring.” But as the years have passed, the value of what Lee was capturing has become clear. On the film’s fifth anniversary, the film critic Mick LaSalle called it “as much an urban historical document as Rossellini’s ‘Open City,’ filmed in the immediate aftermath of the Nazi occupation of Rome.”But Lee didn’t just capture the way New York looked in those uncertain, shellshocked months after 9/11. His film captured how the city felt, the strange quiet that fell over the streets, the overwhelming melancholy that embedded itself in our collective DNA. “25th Hour” was not the story of those attacks, but it was a story about one way of life coming to an end, and another, far less certain one looming on the horizon.“We were very careful how we were going to portray Sept. 11 because we know it’s still very painful and that it will always be very painful for those who lost people,” Lee said upon its release in December 2002. “But at the same time, we couldn’t stick our heads in the sand and pretend like it never happened.” And that instinct, that insistence on documenting the city we lived in rather than the city we imagined, is what makes Spike Lee one of New York’s essential filmmakers.Jason Bailey is the author of the forthcoming book “Fun City Cinema: New York and the Movies That Made It,” a history of the city and movies about it. He is also the host of the “Fun City Cinema” podcast. More

    • 125 Shares169 Views

      in Movies

      Spike Lee Accidentally Reveals Palme d’Or Winner Early: It’s ‘Titane’

      by

      Julia Ducournau becomes the second woman to win the top prize, after Jane Campion in 1993. The surprise reveal came at the start of a chaotic ceremony.CANNES, France — The 2021 edition of the Cannes Film Festival gave its top prize, the prestigious Palme d’Or, to the French film “Titane.”A wild serial-killer story with some of the most controversial scenes of the festival, “Titane” was directed by Julia Ducournau, who became just the second woman to win the Palme, after Jane Campion took the prize in 1993 for “The Piano.”And though “Titane” had been hotly tipped as a prime contender for the Palme, that reveal came much earlier than intended: At the beginning of the closing ceremony, when the jury president, Spike Lee, was asked to announce the first prize of the night, he misunderstood and read off the first-prize winner instead.“Don’t do it!” shouted the actress-director Mélanie Laurent, a jury member seated next to Lee. But the cat was already out of the bag.(At a news conference after the ceremony, Lee said that he had no excuses and that “I messed up,” adding, “I’m a big sports fan. It’s like the guy at the end of the game in the foul line, he misses the free throw or a guy misses a kick.” He also said he apologized to the Cannes organizers. “They said forget about it.”)The accidental “Titane” reveal was only the first of several chaotic moments at the ceremony, as the spoiled Palme reveal was followed by a best-actor prize for Caleb Landry Jones for the Australian tragedy “Nitram.” When a nervous-looking Jones took the stage, he appeared sick to his stomach, said, “I cannot do this,” and beat a hasty retreat.Still, by the time a teary Ducournau was brought out at the end of the ceremony to finally accept her Palme, she had embraced the chaos. “This evening has been perfect,” she said, “because it’s so not perfect.”Julia Ducournau, left with her star, Agatha Rousselle, became the second woman to win the Palme d’Or in Cannes history.Eric Gaillard/ReutersOther major winners included Leos Carax, who took the best-director prize for his eccentric musical “Annette,” best-actress winner Renate Reinsve for the Norwegian romantic dramedy “The Worst Person in the World,” and a pair of ties: The second-place prize was split between “A Hero,” from the Iranian director Asghar Farhadi, and the Finnish drama “Compartment No. 6,” while the third-prize tie went to the Nadav Lapid film “Ahed’s Knee” and “Memoria,” starring Tilda Swinton.At the last Cannes film festival, held in 2019, the Palme winner was “Parasite,” the first major prize Bong Joon Ho’s film took on its path to the best-picture Oscar. Though “Titane” is far too gory to become a major Oscar contender, its Palme win firmly establishes Ducournau as a major international director only two feature films into her career.Correction: July 17, 2021An earlier version of this article misspelled the name of the winner of the best director prize. He is Leos Carax, not Leox Carax. More

    • 163 Shares199 Views

      in Movies

      Malcolm D. Lee on ‘Space Jam: A New Legacy’ and Directing LeBron James

      by

      The filmmaker recalls the “organized chaos” that went into making the new film and the studio pickup games with Chris Paul and other pros.The making of “Space Jam: A New Legacy” was a head-spinning exercise in the unfamiliar for the director Malcolm D. Lee.For one thing, the film went into production less than a week after he officially signed on to direct the film. Lee was a late addition in summer 2019, taking over directing duties from Terence Nance. The script was still in development. Lee, the veteran director of comedies like “Girls Trip” (2017) and “The Best Man” (1999), had never worked with animation before and had never seen the original “Space Jam,” the 1996 basketball-Looney Tunes crossover starring Michael Jordan.On top of all that, Lee was charged with taking care of a movie built around LeBron James, one of the most popular athletes in the world. James had appeared on the big screen before (most notably in a supporting role in the 2015 romantic comedy “Trainwreck”) but had never anchored a feature.“It was organized chaos,” Lee, 51, said in an interview this week.The director met James a decade earlier when they had discussed making a film together, but it never came to fruition. The new project is a gamble for both Lee and James: It will inevitably be compared to the now-beloved original in the same way that James is continually measured against Jordan. If it flops, a movie literally billed as “A New Legacy” may be damaging to James’s own.The movie is, if nothing else, self-aware. At one point, James, playing himself, notes how poorly athletes fare when they try to act. (Similarly to the original, other pro basketball players — including Damian Lillard, Anthony Davis and Diana Taurasi — have cameos.) The film also features Don Cheadle as the villainous manifestation of an algorithm named, well, Al G. Rhythm, who kidnaps James, his youngest son (Cedric Joe) and the rest of the Warner Bros. universe.James and Bugs share the screen.Warner Bros. In addition to preparing for the film, James, 36, also had to stay in shape for the N.B.A. season. Lee said that on shoot days, James would wake up at 2 a.m. and work out till 6 a.m., then show up for a full day on set.In an interview, Lee, who is the cousin of fellow filmmaker Spike Lee, discussed his own love for basketball and how he directed a star without a traditional acting background. Here are edited excerpts from our conversation.Did you grow up playing basketball?The third grade really is when I started playing organized basketball. I wasn’t as into it as my brother and my dad were encouraging me to. I started playing in this league in Brooklyn called the Youth Basketball Association. My dad coached a year. In fact, it’s funny, too, because Spike, who was living with us at the time, was the assistant coach. [Lee is 13 years older than his cousin.]No kidding.Swear to God. And Spike will tell you himself. There was one week when my dad went down to Alabama — that’s where he’s from — and Spike had to coach us. We had an undefeated season until that date, so Spike was sweating coaching us. And we actually got the victory. He didn’t want to spoil my father’s streak.What was your first conversation with LeBron like when you took the “Space Jam” gig?I think LeBron had the same agenda as everyone else in that he wanted to make the movie great. He wanted to make sure that I knew what I was doing, that my vision was clear and that he’d be taken care of. Not coddled, but that there was a leader aboard who was going to say, “This is what we’re going to do and this is how are we going to do it.” I assured him that there could be delays — I just don’t know — but I’m a professional, I’ve been in this for a long time and I will make sure that you’re taken care of.Lee signed onto the film late in the process. “It was organized chaos,” he said.Justin Lubin/Warner Bros.Did you have any reservations about working with a basketball star who doesn’t have the traditional acting training that someone like Don Cheadle has?Not really. LeBron’s been in front of the camera since he was 18 years old. Now, I mean, “Oh, those are just interviews,” but people get asked the same questions over and over again. So he’s got some rehearsed responses. He also was very funny. He wants to be good. He was good in “Trainwreck.” There’s some actors that get something and say, “OK, that’ll cut together.” And some that are just natural. I think LeBron has a lot of natural ability.Without spoiling it, there is a scene where LeBron has to convey a vulnerable emotion toward his son. Is there anything in particular either you or he did to prepare for that scene? Because that had to be out of his comfort zone.For sure. Look, the first thing that I try to get with any actor is trust, right? I have to trust them. They have to trust me because I’m going to ask them to go to some places that they aren’t necessarily comfortable going. So yes, we did talk about something before he delivered some of those lines. Then we did a couple of takes — just let him get warmed up. If I’m not getting what I’m looking for, then I’ll say, “Why don’t you think about this? And don’t worry about the line so much. Just have this in your brain and then say it.”From left, Nneka Ogwumike, Cedric Joe, Damian Lillard, Anthony Davis, Klay Thompson and Diana Taurasi on the set. Scott Garfield/Warner Bros.Film is a director-driven medium, and basketball is very much player-driven in that players can get coaches fired or disregard them entirely. Did that dynamic ever come into play in the course of filming?No. I don’t think there was ever any “I want to do it this way and I don’t care what you have to say.” I think LeBron likes to be coached. He’s a master of his craft. But at the same time, people are in your corner whose job it is to say: “Make sure you do this. Think about this. I’m seeing this on the court. You’re not seeing blah, blah, blah.” And I think he takes that information. Same thing with acting.During the filming of the original “Space Jam,” Michael Jordan hosted scrimmages with other N.B.A. players. Was there anything like that here?There was a court built for [James] on the Warner Bros. lot. I did go to one pickup game and that was thrilling for me, because I’m a huge basketball fan. Chris Paul was there, Ben Simmons, Anthony Davis, JaVale McGee, Draymond Green.You didn’t ask to play?Hell no.What an opportunity, man!Are you kidding? The opportunity to get embarrassed. A lot of those guys come into the gym, they don’t know I’m the director of the movie. They’re like, “Who’s this dude?” I can’t be like, “Hey, how you doing? I played intramurals at Georgetown.” That’s not going to impress anybody. More

    • 88 Shares129 Views

      in Movies

      On the Scene: Cannes Film Festival 🇫🇷

      by

      On the Scene: Cannes Film Festival 🇫🇷Kyle BuchananReporting from the French RivieraThe standing ovation for “Annette” — an esoteric musical with songs from the band Sparks — lasted so long (over five minutes!), Adam Driver and Leos Carax, its director, both lit up cigarettes in the theater. More

    • 100 Shares99 Views

      in Television

      Cryptocurrency Seeks the Spotlight, With Spike Lee’s Help

      by

      The filmmaker’s commercial for a crypto company is one of many recent marketing efforts to make digital cash palatable for newbies.Before Spike Lee accepted cryptocurrency, he turned down Crocs.Years ago, the filmmaker rejected an offer to buy into the Colorado company that makes perforated foam clogs, a decision that caused him to miss out when its stock soared on the strength of the footwear fad.“I wish I would’ve given some money back then,” Mr. Lee said in a recent interview. “Anytime something is new, you’re going to have people who are going to be skeptical. With some of the best ideas, people thought the inventors were crazy.”Now he has taken a leap into another cultural craze, having agreed to direct and star in a television commercial for Coin Cloud, a company that makes kiosks for buying and selling Bitcoin and other virtual currencies. Although cryptocurrency is not widely used for transactions, an increasing number of merchants now accept it as payment.The commercial, which he shot last month, is one of several recent marketing efforts meant to broaden the audience for a form of currency that can intimidate people accustomed to cash and credit cards.Mr. Lee, outfitted nattily in a straw hat and gold-tipped cane while filming part of the commercial on Wall Street, led a diverse cast that included his daughter Satchel, the “Pose” actress Mj Rodriguez and the drag queen Shangela. Other shoot locations included Fort Greene Park and the Chillin’ Bar and Grill in Washington Heights, where breakfast patrons craned to catch a glimpse of the director as he filmed a Coin Cloud machine on the sidewalk.“Old money is not going to pick us up; it pushes us down,” Mr. Lee says in the commercial, which portrays the cryptocurrency system as a more accessible and equitable alternative to traditional, discriminatory financial institutions.“The digital rebellion is here,” he says.Cryptocurrency has also been known to intimidate investors, with its extreme volatility and the overwhelming number of virtual alternatives, known as coins. The marketing of this relatively new money has so far been limited mostly to ads on trade websites and targeted pushes on social media, where aficionados swap meme-fueled in-jokes about coin values rocketing to the moon.The industry is increasingly betting that celebrities can help demystify cryptocurrency for the uninitiated.The actor Alec Baldwin offered crisp definitions of cryptocurrency in a series of online ads for the crypto trading platform eToro, and the National Football League star Tom Brady signed on as a brand ambassador for FTX, a crypto exchange that also has a deal to sponsor Major League Baseball.Alec Baldwin is advertising for the cryptocurrency trading platform eToro.eToroThe actor Neil Patrick Harris recently appeared in a TV commercial for the digital currency kiosk operator CoinFlip. “Now anyone, anywhere, can turn cash into crypto!” he declares.EToro and Coinbase, another exchange, collectively spent $22.8 million on advertising last year, nearly double the $12.4 million they shelled out in 2019, according to the research firm Kantar. In recent months, Coinbase hired the Martin Agency, the advertising company behind GEICO and DoorDash.As Madison Avenue fields more inquiries from cryptocurrency clients, agency executives are feeling pressure to better communicate the investment risks, rather than romanticize the industry.“I get very nervous because I start looking at the way that some of the platforms are specifically targeting younger investors,” said Alex Hesz, the chief strategy officer of the advertising giant DDB Worldwide. In the face of frenzied cryptocurrency trading, ad agencies should push for moderation and diversification, he said. “Maximizing is what’s being encouraged here — the idea that this is an amazing asset, and as much as you want to put in, come on and jump on in, the Bitcoin’s lovely,” Mr. Hesz said. “We would never feel comfortable for an alcohol client, or a high-salt or high-sugar or high-fat client, to encourage that level of unequivocal behavior.”Some celebrity endorsements of cryptocurrencies have run into trouble. In 2017, the Securities and Exchange Commission cautioned that some famous people were hyping the virtual currency sales known as initial coin offerings without disclosing that they had been paid to promote them. The commission has since settled charges against the boxer Floyd Mayweather Jr., the music producer DJ Khaled and the actor Steven Seagal.Social media influencers and e-sports stars have also been linked to shady cryptocurrency schemes, accused of pumping up coins just before their value crashes.Coin Cloud’s chief marketing officer, Amondo Redmond, said he hoped Mr. Lee’s stature would help elevate the industry by delivering something “more than just cool creative, but that is really at the forefront of digital currency becoming mainstream.”“It’s more than just adding a celebrity face,” he said.Mr. Lee, who won an Oscar in 2019 in the best adapted screenplay category for “BlacKkKlansman,” has worked on ads for Capital One, Uber and, most famously, Nike. In the 1980s and 1990s, he directed and starred in commercials for Air Jordans, playing his cinematic alter ego Mars Blackmon opposite Michael Jordan.“That was lightning in a bottle,” Mr. Lee said from a flight bound for the Cannes Film Festival, where he is the first Black person to lead the festival jury.He declined to say how much he had been paid for the Coin Cloud commercial, but noted that “if anyone’s known my body of work over the last four decades, you kind of know about the way I see the world, and when they approached me, it fit in line.”As the coronavirus pandemic continues to highlight financial disadvantages for people of color, Mr. Lee hopes to promote cryptocurrency as neutral to race, gender, age and other identifying characteristics.But he was no expert before filming began, and had to take “a crash course” on crypto. He insisted that the commercial include a line urging viewers to do their own research on virtual money.Mr. Lee said he now planned to invest in virtual coins. He said he would not, however, go anywhere near the digital ownership certificates known as nonfungible tokens.“NFTs, I don’t understand that,” he said, laughing. “I’m old school, so sometimes my children have to turn on the TV — all those remotes and stuff.” More

    • 125 Shares149 Views

      in Movies

      The American Academy of Arts and Letters Unveils Expanded Roster

      by

      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyThe American Academy of Arts and Letters Unveils Expanded RosterFor the first time in more than a century, the society is adding new spots for members, with a diverse group of cultural figures.From left, Ta-Nehisi Coates, Joy Harjo, Wynton Marsalis and Betye Saar, who are among the new members of the American Academy of Arts and Letters.Credit…John Lamparski/Associated PressMarch 5, 2021, 5:19 p.m. ETThe American Academy of Arts and Letters, an honor society of leading architects, artists, composers and writers, announced 33 new members on Friday as part of an effort to expand and diversify.Among them are the painter Mark Bradford, the poet Joy Harjo, the artist Betye Saar and the composer Wynton Marsalis and the writer Ta-Nehisi Coates.Founded in 1898, the institution had capped membership at 250 since 1908; members are elected for life and pay no dues. In addition to adding 33 members, the academy announced it is going to grow to 300 by 2025. Its move to diversify comes as the arts reckon with issues of race, inclusion and social justice.“The board of directors is committed to creating a more inclusive membership that truly represents America and believes that expanding the Academy’s membership will allow the Academy to more readily achieve that goal,” the organization said in a statement.Early on after its establishment, the organization — which now administers more than 70 awards and prizes, totaling more than $1 million — was mainly made up of white men, like Theodore Roosevelt, Augustus Saint-Gaudens, John Singer Sargent and Mark Twain. Previously, new members could only be elected after the death of existing members.“That the doors of the institution have opened to a more representative membership is symbolic of a cultural shift that is long overdue,” Harjo said in an email to The New York Times.“Every culture has contributed to the restoration, remaking and revisioning of this country,” she added. “Together we are a rich, dynamic story field of every shade, tone and rhythm.”The academy is ushering in its most diverse group as institutions across the nation have reckoned with racial justice, equity and inclusion in the last year. The Andrew W. Mellon Foundation announced a $5.3 million program to distribute curated collections of books to prisons across the country last June and later pledged $250 million to help reimagine the country’s monuments and memorials to include the histories of people who have been marginalized. In January, the Library of Congress also announced a Mellon-funded initiative to expand its collection and encourage diverse outreach for future librarians and archivists.Employees at other arts organizations are also airing their issues with the gatekeepers of high arts: a coalition from the Metropolitan Museum of Art, the Metropolitan Opera, the Museum of Modern Art, the Guggenheim Museum and other New York-based cultural institutions issued an open letter on social media regarding the “unfair treatment of Black/Brown people” last year, demanding “the immediate removal of ineffective, biased Administrative and Curatorial leadership,” among other requests.The academy only includes American architects, artists, writers and composers. Among the new additions, who are not in these categories, are honorary members, like Mikhail Baryshnikov, Spike Lee, Unsuk Chin and Balkrishna Doshi.All of the new members will be inducted on May 19 via a virtual award ceremony.AdvertisementContinue reading the main story More