Recently, The New York Times convened a panel of six black directors who, along with Spike Lee and John Singleton, were part of a black film wave in the 1990s. Singleton’s death in April, after being hospitalized for a stroke, loomed over the conversation.
The director’s classic first film, “Boyz N the Hood,” made him a historically significant figure at 24 — the youngest person and first African American to ever receive a best director nomination at the Academy Awards.
But he was also a sensitive friend to, and ardent champion of, his fellow filmmakers. Here, the six directors — Ernest Dickerson, Julie Dash, Matty Rich, Leslie Harris, Theodore Witcher and Darnell Martin — share personal memories of their encounters with Singleton and his work.
ERNEST DICKERSON (director of “Juice”): John came to the set of “Malcolm X” [the Spike Lee film on which Dickerson served as cinematographer]. I remember meeting this young guy who was so full of energy. You could just see that he was capable of some amazing stuff. Then when “Boyz” came out, it was a game changer. Even though, being in New York, we couldn’t understand why the brothers in LA were so pissed off — they had houses with lawns, and we were living in brick cities. [Laughs] But still, he made a film that had so much soul to it, so much meaning, so much heart, and just some beautiful performances. When he passed away, it was a big blow to all of us.
DARNELL MARTIN (director of “Cadillac Records”): I loved Eugene O’Neill and “Long Day’s Journey Into Night,” and I felt like [“Boyz”] was our “Long Day’s Journey Into Night.” It was one of those incredible family dramas that made everybody, even people who are not part of that culture or community, comprehend the humanity.
THEODORE WITCHER (director of “Love Jones”): When I was in film school and “Boyz” came out, I was like “Oh, [expletive]. He’s 23. I’m too late!” I was super competitive. And then years later, when I became friends with him, he was always very, very encouraging and congratulatory. He just seemed to be rooting for everybody.
LESLIE HARRIS (director of “Just Another Girl on the I.R.T.”): When I won the award at Sundance [a special jury prize for “Just Another Girl”], John was the first person who greeted me backstage. That was the first time I really met him. And I had that same experience with him in so many venues: You’d look up and John would just be there to say, “Hey.” As much as I love “Boyz N the Hood,” I really love “Baby Boy.”
JULIE DASH (director of “Daughters of the Dust”): I remember him telling me about “Baby Boy” at a screening of “Daughters.” I was talking about a film that I was going to make and he was talking about getting ready to make “Baby Boy” — the opening sequence of the lead character [Tyrese Gibson, as an adult] in the womb. What could I say? He was always there, always very supportive and a consummate filmmaker.
MARTIN: Before [“Boyz”] came out, we were in Washington Square Park [in New York City] with Ann Carli [of Jive Records], having a picnic. He just seemed so young and excited and so hopeful about the world, and very humble. I always remember him that way.
DASH: The first time I met him I thought he was actually very shy. I don’t think “Boyz N the Hood” had come out yet. We were with a group and his head was down in his Game Boy. He was just a skinny little kid.
WITCHER: The only back and forth that was competitive in nature between us was completely not related to movies. There’s that period when your movie comes out and you’re doing a bunch of stuff and you’re at a bunch of events. I would always see him at Barneys in LA. As men, we’d go back and forth on suits. Like, “You’re going to wear that suit? Oh, that’s your look for this event? Let me come back.” We would try to out-fly each other that way.
MATTY RICH (director of “Straight Out of Brooklyn”): I was blessed enough to attend the memorial at USC and there was such an outpouring of love. It was wonderful and to see his body of work, and also what he did for African-Americans by paving the way for writers. I saw him recently at the annual [Directors Guild Awards]. He would always be telling me, “When are you getting back behind the camera?” Just encouraging me. The last time I saw him, I let him know that I’m headed back behind the camera. He was just elated.
This article originally appeared in The New York Times.