WTF with Marc Maron – Episode #1675: Spike Lee

Release Date: September 4, 2025
Guest: Spike Lee
Main Theme: A deep dive into Spike Lee’s process as a filmmaker, his enduring partnership with Denzel Washington, the legacy and evolution of New York City as a creative setting, generational and artistic influences, and the artistic/ethical weight of filmmaking.

Episode Overview

Marc Maron welcomes iconic filmmaker Spike Lee for an intimate conversation about Lee’s new film Highest to Lowest (premiering on Apple TV+), his legendary body of work, and what it means to create art with social conscience. The episode moves from the personal—upbringing, creative inspiration—to sharp analysis of genre, collaboration, and the ever-changing dynamics of New York. Maron and Lee also reflect on the cultural resonance of 20th-century cinema, the ethics of storytelling, and the ever-relevant politics of race in America and Hollywood.

Key Discussion Points & Insights

Spike Lee & Highest to Lowest: The New Film

• Genesis of the Project

  • Denzel Washington brought the script, adapted from Akira Kurosawa’s High and Low, to Spike Lee.
  • Lee instantly knew he’d direct:

    “When I hung up the phone, I knew I was doing it already.” (Spike Lee, 15:15)

  • Their collaboration is built on trust:

    “His magnificence… and also, the relationship we’ve had with the four films.” (Spike, 15:18)

• Approach to Adaptation

  • Lee compares the adaptation process to jazz musicians reinterpreting standards:

    “We were Coltrane. And not necessarily, you know, Julie Andrews. We... flipped standards. That was our approach.” (Spike Lee, 16:45)

  • Not a remake, but a “reinterpretation” with its own vibe and ethics (17:09).

• Layering Moral Dilemmas and Generational Weight

  • The film, much like the original, explores class, friendship, and morality in a contemporary NYC music industry.
  • Discussion of the film’s “passing moments” and their power, e.g., a father’s subtle affection and private doubt (19:10–19:24).

Collaboration with Denzel Washington

• On-Set Chemistry & Improvisation

  • Lee trusts Denzel to improvise, as seen in past films:

    “I’m not going to tell Denzel, you can’t improv here… Denzel has the instincts.” (Spike Lee, 34:11, 35:23)

  • Anecdotes about Denzel’s competitiveness and authenticity (see the basketball scene in He Got Game, 34:51–35:22).

• Denzel’s Influence for the Role

  • Denzel’s presence sets the tone for his co-stars. Ethan Hawke studied him for Training Day:

    “He was watching Denzel movies like teams watch the opposing team’s game tapes…” (Marc Maron, 35:39)

New York City: Changing City, Constant Muse

• NYC as Character

  • Lee’s films are rooted in place.

    “One of the primary characters is New York City, right?” (Marc Maron, 21:55)

  • Lee reflects on the evolution of Brooklyn and the city’s neighborhoods (22:00–23:01).

• Gentrification and Artist Access

  • The city is less accessible to young creatives now:

    “You can’t do that no more, not in New York City… rent is crazy.” (Spike, 26:09)

Family, Upbringing & Early Inspirations

• Creative Household

  • Spike’s father, Bill Lee, was a jazz and folk bassist

    “My father refused to play electric bass. My mother had to go to work… We did a starve.” (Spike, 28:26)

  • These struggles and stories inspired Crooklyn—his most globally beloved film, according to Lee (29:04–29:12).

• Art, Music, & Film as Parallel Sources

  • Billy Lee’s music forms the score of early films (She's Gotta Have It, Do the Right Thing, Mo’ Better Blues, etc.)
  • Intergenerational influence and creative inheritance are discussed honestly and humorously in terms of sports fandom, too (31:31–32:03).

Style, Technique & Artistic Growth

• Color & Cinematic Devices

  • On using color:

    “I love black and white films, but it’s the story for me—the story tells you what you should do.” (Spike, 39:44)

  • On the famed double dolly shot:

    “The best use… is in Malcolm X... because I did a lot of interviews and more than one person said that they thought that Malcolm knew he was going to assassination…” (Spike, 43:37, 44:02)

• Influences

  • NYU film school exposed Lee to Kurosawa, Scorsese, and Jim Jarmusch:

    “Marty was not there… Oliver Stone was not there… so my contemporary was Jim Jarmusch.” (38:49–39:17)

  • Lee is now a tenured teacher at NYU, helping aspiring filmmakers.

Doc Filmmaking, Social Justice & Responsibility

• Making a Difference: 4 Little Girls & Beyond

  • Lee shares the emotional and political impact of his documentaries:

    “One of my proudest moments. That film sent some people back to prison after many, many years they were around free.” (Spike, 56:25)

  • Discusses ethics in showing shocking, true images and the emotional impact on the subjects’ families (57:02–58:29).

• Documentaries vs. Narrative Films

  • Distinct muscles, but united under the umbrella of storytelling; each discipline informs the other (53:47–54:02, 61:17–61:30).

The Business, Recognition, and Awards

• On Oscars & Recognition:
  • Lee discusses how important (and not important) awards are:

    “Do the Right Thing wasn’t even nominated for an Oscar… I don’t let that deter me… I’m mad for a day. Then just keep it moving.” (Spike, 63:38, 64:06)

Comedy, Culture, and Crossover

• Collaborations with Comics

  • Lee’s love of and connection to comedy:

    “Comedians—tough business!… You’re butt naked up there.” (Spike, 69:13, 72:23)

  • Behind the scenes on The Original Kings of Comedy, working with Bernie Mac and Robin Harris (66:02–66:41; 66:46–67:33).

• On Bombing in Comedy (and Art)

  • Marc and Spike connect over the reality and fear of artistic failure:

    “For so much of your career early on, you’ve got to pretend that you’re not afraid.” (Marc, 69:47)
    “Pretend that you’re not afraid. And then… live in that until the fear goes away.” (Marc, 69:51)

Artistic Morality & Social Satire

• Cultural Satire’s Resonance

  • Bamboozled is discussed as biting, poetic, and painful:

    “The real film is about that last two minute montage… blackface history, and the cartoons… And that’s what the film’s about.” (Spike, 50:45–51:06)

• Classic Inspirations: ‘A Face in the Crowd’ & ‘Ace in the Hole’

  • Lee admires the cynicism and moral complexity of these older films:

    “It’s like morality, which is a big thing in our field.” (Spike, 77:54)

  • He shares a personal promise to complete a script with legendary screenwriter Budd Schulberg (75:49–76:12).

Notable Quotes & Memorable Moments

• On Acting with Denzel Washington:

  “Because of Denzel. You know—his magnificence.” (Spike Lee, 15:17)

• On improvisation and trust:

  “When you have great musicians or great actors, you let them go.” (Spike Lee, 34:32)

• On passing time and artistic legacy:

  “Time waits for no one.” (Spike Lee, 15:39)

• On the mental toll of creativity and anxiety:

  “My brain is just wired to be panicky, to look for the worst, and then when the worst doesn’t happen, to question that, and then maybe to take more steps that make it worse in a different way.” (Marc Maron, 09:35)

• On documentary’s social power:

  “That film sent people back to prison after many, many years.” (Spike Lee, 56:25)

• On morality in film:

  “For me, this film is... the weight of the film is about morals.” (Spike Lee, 19:31)

Timestamps for Key Segments

• Intro and personal update – 00:00–11:47
• Spike Lee joins, talks LA & the new film – 13:41
• Origin of Highest to Lowest collaboration – 14:51
• Adapting Kurosawa via Jazz – 16:33
• New York as character & gentrification – 21:55–26:09
• Family, creativity, Crooklyn – 26:53–29:12
• Improvising with Denzel & actor anecdotes – 34:03–36:43
• Artistic influences: Jim Jarmusch, Scorsese, Spielberg – 39:44–41:15
• Color, style, technical choices – 43:07
• Oscars and keeping perspective – 63:13
• Documentaries, 4 Little Girls FBI story – 54:07–56:25
• Comedy, vulnerability and creativity – 69:01–72:23
• Moral weight and classic films – 75:35–78:18

Conclusion

This episode is a thoughtful and wide-ranging reflection on art, ethics, and endurance, held between two creators who deeply respect craft and risk. Fans of Spike Lee and film in general will find this a rewarding—and at times moving—hour, packed with wisdom, humor, and a granular appreciation for the intersections of history, cinema, and real life. Spike’s closing words emphasize ongoing creative projects, his unwavering partnership with Denzel, and a continuous search for honest storytelling.

New Listeners Should Know:

• Highest to Lowest debuts on Apple TV+ September 5, 2025
• Spike Lee continues to teach, make documentaries, and is working on further projects (including a Budd Schulberg collaboration)
• Spike and Marc connect on how art, comedy, and life all hang in the balance between courage and vulnerability.

Suggested Segment for Re-Listen:

• Kurosawa, Jazz, Adaptation – The discussion around 16:33–17:09 is especially revealing of Lee’s creative philosophy.
• Documentary Impact, 4 Little Girls – Spike’s account at 54:07–58:29 is both moving and historically significant.
• On Bombing and Artistic Fear – Marc and Spike at 69:47 onwards is candid, funny, and inspiring for any creative.