Renaissance Man
Spike Lee, an American artist
In the 13 years since She's Gotta Have It, Hollywood has hyped a slew of next-big-thing black directors who have crashed and burned on the force of their own mediocrity, many of them having clumsily ripped off Lee's swagger and marketing savvy while possessing little in the way of intelligence or vision to back it up. The indie world, meanwhile, has produced black talent that it can't -- or won't -- either sustain or graduate to Hollywood. (Exceptions, such as Bill Duke, Carl Franklin and F. Gary Gray, have made it a point to downplay race in their films and career choices, which is political in and of itself.) As an unapologetic race man working in the movies, Lee has forged a stunning career in which he's willed himself to evolve both artistically and politically. That he's done it in the face of often clueless and mean-spirited critics, a less-than-supportive studio system, an indifferent movie audience specifically and, most bafflingly, the indifference of a black audience that claims to be starved for quality work, is testimony to his tenacity and his talent.
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