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• The first dip should be held long enough to soften the core candle
  so the dipped layers adhere better. This is normally held for 30 seconds
  and is done only on the first dip.
• The candle is then immediately dipped in cold water and removed. Any
  drops of water should be wiped off before dipping into the wax again.
  
• Dip in and out of the wax.
• Dip in and out of the water bath.
• Repeat steps 3 and 4 until the desired thickness has been attained.

You know, I go to a Clint Eastwood movie, and I see that time after time, Morgan Freeman is playing Clint Eastwood's sidekick. Everyone loves these movies; they always win awards. But nobody complains about that. There's no black group that complains and asks, "Why can't Clint Eastwood be Morgan Freeman's sidekick?" Would you like to see a black uproar over that?

Lee: Oh, man. We have more things to have an uproar about than Morgan Freeman. But the point that you make is true, that we just don't have the lobbying power that other groups have, and it has to do with political and financial clout. So, that's that.

Slate: You've said that things will change when there are more black producers.

Lee: I used the word gatekeepers. I said that I really want to see a wider, more sweeping change in the breadth of subject matter and stuff, which is only going to come when we get those locked positions of the gatekeepers.

Lee: The reason I was so mad at that statement was that it seemed to me that Will was just saying something the studio told him. You know, "So, what about Spike?" And they go, "Well, he's not that broad," and then he comes back to me and says the same thing they said. That's why I was mad.

Slate: Did you sense that "broader vision" was code for not being so African-American?

Lee: Well, that's what it means. Appeal to the widest margin and, you know, you all saw how Ali turned out, so there you go.

Look, my films have to make some money. But I still think that it was unfortunate. I wanted to do Ali, Will and the studio didn't want me, and that's that. I moved on a long, long, long, long time ago.

C: About the montage at the end of Bamboozled, which shows how black
people have been represented in America - why was it all old film and TV
clips? Why didn't you bring it up to date?

SL: I didn't feel it was necessary, because there are movies that do that
for me already - look at the black characters in The Legend Of Bagger
Vance, The Green Mile, Family Man. I thought it was more important to
deal with history, because there was a lot of stuff in those films that
most people haven't seen. In the clips of Judy Garland and Mickey Rooney
putting on blackface - if you see that film on TV today in the US, they cut
that out. We found a cartoon where Bugs Bunny was in blackface, and we
wanted to include that, but Warner Brothers refused to let us use it. I
don't think those clips should be buried. I think it's good we see this
stuff. It's evidence of the misrepresentation of a people.

C: The film seems to make comparisons between gangsta rap and minstrel
shows.

SL: I feel that gangsta rap is a 21st century form of a minstrel show, and
the sad thing is, a lot of those guys don't even know it. Rap music is huge,
all over the world, but a small percentage of the people that buy it are
actually black. And with excessive use of the N-word, a lot of young
white kids think it's OK to use that word, and they go call black people
that word also.

C: How do you feel about white appropriation of black culture?

SL: There's nothing wrong with white people trying to appreciate black
culture. The problems arise when you don't realise the distinction
between appreciation of one's culture and appropriation of one's
culture. That's the difference. And people like Dunwitty in the film,
they try to appropriate black culture for their own gain. It's like a
fantasy: "I wanna be a gangsta, yo, yo, yo!" or "I wanna
wear my pants down below my ass!" But that's very easy, because
they're not going to be stopped by the cops. They want to have it one way,
but not the other.