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About The Production
She Hate Me was shot entirely on location in New York City over the course of 28 days. Lee's preparedness and ability to focus on the task at hand made the independent shoot an exercise in efficiency and professionalism. Holmes marvels at Lee's talent for getting things done under severe circumstances. "We had limited resources and a curtailed production schedule. Spike moved quickly. It was challenging, but we finished two days earlier than scheduled.”

Lee is able to concentrate on directing his films because he hires a creative team that understands his unique creative vision and helps him to achieve it. "Spike surrounds himself with smart people. Everyone, cast and crew, felt privileged to work with him,” explains Washington.

Holmes thinks that people are attracted because they recognize that a Spike Lee Joint will be a creative challenge. "Spike has a willingness to take risks. He wants to try things differently. Having a Director of Photography like Matty Libatique, who is a collaborator and willing to take a fresh look within the confines of the budget is a great asset,” says Holmes.

Lee describes the production as an enjoyable experience. "Working with Matty was a joy. We experimented with interesting ways to tell the story. There were often two or more cameras covering the scenes. I wanted fluidity to the look and feel of the story.”

She Hate Me marks the first time that he has worked with Lee. Once he had gotten over the fact that he was working with one of the directors that inspired him to a life in film, Libatique found Lee to be very approachable. "I had to work with him as a director, not as a hero.”

Out of his conversations with Lee concerning the script, Libatique developed a visual language to demarcate the three levels on which the film operates. "There's the cold and professional world of Wall Street, Jack's personal life and the central life with the women that blends the two,” explains Libatique.

He used warm color tones to chart Jack's passage to becoming a more outward looking, compassionate and empathetic person. The interaction between the women called for colors that blended the warm tones with the colder hues from those sections of the film that deal with Jack's professional life.

Libatique praises Lee's understanding of the way that technology can enhance the storytelling. "Spike has mastered the art of shaping a scene with multiple cameras.” The film was shot on 16mm and transferred to digital intermediate to make the final film. "It's economical and a creatively useful way to use the technology that is available,” concludes Libatique.

Washington notes Lee's regard for his actors. "He surprised me. He doesn't coddle actors because he respects them. He trusts us to do the work. It was necessary for me to grow as an adult to work on the film. I would not have been able to expose my vulnerability in the scenes.”

She recalls shooting the scene in which Jack catches Fatima making love in their apartment. "It was intense, but at the end of the work day, he presented me with a huge bouquet of red roses. It was a lovely gesture which told me that he appreciated the work that I had done to complete that scene.”

Though he had just completed work with Lee on Sucker Free City, Mackie found himself having to make some adjustments. "It was hard to be in almost every scene.” He remembers shooting the SEC courtroom scene with Brian Dennehy. "It was nerve wracking. There was lots of dialogue and it was a very hard scene to do. Spike gave as much time as I needed to do it right.”

Camaraderie between the actors helped to make the film's provocative political and sexual scenes much easier to manage. Mackie's first intimate scene on film takes place with Monica Bellucci. "She was very understanding of the situation. She is beautiful both externally and internally.” Mackie was also pleased by the chance to work with another o


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