Spike Lee, Manhattan NY, 1990. The first time Spike and I worked together we were in a studio— I realized right away that he wasn’t that comfortable and needed to be in a different environment, and there was like no opportunity on a set—it’s not where I wanted him. So I talked him into stepping outside onto the street. I always say I don’t need a perfect location.It’s become a joke with my peers that I could shoot anyone sitting on a curb—and honestly, I have—Bruce Springsteen, Angelina Jolie, Bon Jovi, Nicholas Cage, Philip Glass, Keith Richards, and now Spike Lee, all sitting on the dirty streets of New York. I don’t need anything—it’s about light, it’s about lens, it’s about attitude. It doesn’t make a difference where you are, I can make a picture anywhere. So I sat Spike on the curb. And we got a picture.We shot again years later, and once again, didn’t have much time and decided to shoot outside the studio. He’s known for being a little...not difficult...but guarded, stoic even. He doesn’t really give much emotion. But on this shoot, his kids were there. So I thought, let me get a crack at this, he’s not going to be difficult with his kids there.It wasn’t much—but he gave me just enough time, just enough presence. These shots, as banal as they may look—him in a hoodie standing on the edge of the street—are more layered to me because of who he is. And it’s wild that both times I’ve photographed Spike, it’s been on a sidewalk. That’s all I’ve ever had with him—a curb. And that’s all I needed.
