Lee Daniels is an Oscar-winning director, producer and writer of so many important films and series in the past two decades—including Empire and The Deliverance—sticks to his successful formula of quality over quantity, showing a restraint rarely seen in Hollywood.

By Richard Pérez-Feria / Photography by Mike Ruiz

I’ve always been curious—completely obsessed may actually be a tad more accurate—by any work created, directed or otherwise touched by one Lee Daniels, the multi-hyphenate genius behind some of the most compelling films and shows coming out of Hollywood. Though he may not be as prolific as, say, Ryan Murphy or Shonda Rhimes, who create a gusher of cinematic and streaming catnip no one can resist, Daniels’ approach would seem to stick to a strategy of unleash-one-amazing-project-on-the-world-at-a-time. There’s a time for catnip, friends, and there’s a time for the main course. Both, when executed perfectly, can be intoxicating.

“I don’t profess to be Shonda Rhimes by any stretch of the imagination,” Daniels says. “She’s an icon. I’m a filmmaker.”

Exhibits A, B and C proving my Daniels’ success hypothesis are, in fact, three film projects early in his career starting with his first production—via Lee Daniels Entertainment—Monster’s Ball, making Daniels the first African-American person to solely produce an Academy Award-winning film. That’s quite something. He followed that up with a winning directorial turn that racked up six Oscar nominations, including Best Director and Best Picture, Precious: Based on The Novel Push By Sapphire. His third cinematic triumph followed in 2013 with the release of the critically-acclaimed box office hit, Lee Daniels’ The Butler, starring the always great Forest Whitaker.

“When I make movies, I don't ever go out there to please anyone other than myself,” Daniels says. “I never try to make a film for the masses. I just try to tell my story.”

It’s undeniable that whatever tactic this talented man born on Christmas Eve in West Philadelphia takes in approaching his creative process, it’s working. As one of five kids, Daniels dropped out of Lindenwood University to move to Los Angeles and eventually launched his entertainment career as a casting director (Purple Rain) and manager (Wes Bentley).

In 2015, Daniels decided to take his talents to the small screen as creator, executive producer and writer/director of the pilot episode of Empire, the eye-popping drama ostensibly about an African-American music mogul family, starring Terrence Howard, the sublime Taraji P. Henson and Jussie Smollett. (The premiere still ranks in my top ten most memorable pilot episodes of all time). During and after the six-year run on FOX, Daniels continued his winning ways by directing and producing The United States Vs. Billie Holiday motion picture starring Andra Day as the legendary singer. As is his custom by now, Daniels directed his leading lady to a Golden Globes victory and Academy Award nomination for Best Actress. Recent projects Daniels has developed, written, directed or otherwise supervised include the buzzed-about series The Wonder Years and The Ms. Pat Show before expanding his reach to Broadway.

What a swing for the fences that proved to be. In late 2022, Daniels expanded into theater as producer of the critically acclaimed Broadway comedy, Ain’t No Mo’. Written by, and starring, Jordan E. Cooper, the youngest American playwright in Broadway history, Ain’t No Mo’ asked the decidedly incendiary question: What if the US government offered Black Americans one-way plane tickets to Africa? The answer came in the form of an outrageous and high-octane comedy about what it means to be Black in today’s America. Unsurprisingly, Ain’t No Mo’ received six Tony nominations for Best Play, Best Direction, Featured Actor, Featured Actress, Costume Design and Sound Design. A triumph indeed.

As Daniels moved to his next (and current) project, 2024’sThe Deliverance on Netflix, starring Glenn Close, Mo’Nique, Andra Day and Aunjanue Ellis, was the No.1 most viewed movie on the streamer for most of September. Another undeniable feather in Daniels’ cap.

In his spare time (ha!), the talented creative launched Lee Daniels Music as a joint venture with Warner Recorded Music, sits on numerous philanthropic boards and has been a lifelong activist on behalf of LGBTQIA+ rights.

“I'm not going to be labeled a Black filmmaker,” Daniels says. “I’m not here to just tell Black stories. I'm here to tell all kinds of stories, musicals and dramas. I'm a filmmaker. I'm always searching for the truth in everything I do. I demand it from my writing partner and my crew, actors and so hopefully, we're making people think.”

One thing I don’t have to think about is the hope that his next project is released very soon. I did mention my obsession with his work, yes? You see, quality over quantity may be a cliché but it’s also the ethos of the genius who is Lee Daniels, a true creative master at the very top of his game.

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Do you see yourself as a filmmaker, writer, or producer first?
Filmmaker, though I often rewrite most of the stuff that I direct.

Like so many of the best multi-hyphenates in Hollywood, do you enjoy using so many different skills when creating a film or series?
No, I'm a filmmaker first. And if I'm forced to be a producer, OK, I don’t mind. And I will do whatever I can creatively, to fulfill the director’s or the writer’s needs.

Jacket by HEIKE-NY Official at The Confessional Showroom

What is your happiest memory of your childhood?
Watching my parents come home with my youngest sister, Leah, after she was born. She was the most beautiful baby that I’d ever seen.

Is there a most prevalent thematic thread that runs through all of your films and series?
Yes there is. For some reason I’m attracted to dysfunctional families. I’ve decided that most families are dysfunctional in some way, shape, or form. I think that’s why a lot of people relate to my work and it’s so universal.

I believe the pilot episode of “Empire” is easily one of the most underrated hours of sheer quality television. Did you purposely set out to make a modern take on, say, “The Sopranos” meets “Dynasty?” And did the show end after season six where you thought it was going?
Thank you very much. That makes me feel good. I humbly agree with you. Sadly, the critics didn’t see it the same way. But I know what the public wants. In particular, African Americans. I think I’m ahead of my time in storytelling, because rarely are the critics and I on the same page. I wanted a Black version of Dynasty except as a musical. That’s what I set out to do. I felt Americans had not seen a wealthy African American family before on screen dealing with complex issues. I wanted to incorporate fashion, art, and music into the story because we are at the forefront of it all. And to answer the second part of the question, it did not end the way I expected.

**Left:**
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**Right:**
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All by LANDEROS NEW YORK
Hat by Esenshel

How gratifying was it to capture the ephemeral Netflix audience a few months ago with the smashing success that was “The Deliverance?:”
Studios and the media underestimate the intelligence of the American people. Though we want big, tent-pole movies, we crave to see intelligent stories and it is important to me as a storyteller to fill that need.

Tell me something surprising most people don’t know about you.
My current addiction is saving food recipes from Instagram and TikTok.

Name two actors you feel you must work with on a project.
Damson Idris and Idris Elba. I haven’t worked with these two before, but I'm excited to work with them on an upcoming project.

Is Lee Daniels happy today and, is a happy Lee Daniels a better creative genius?
[Laughs] Lee Daniels is happy for the moment but catch me in an hour and I won’t have the same answer, I’m sure. I have to force myself to be happy because tomorrow is not promised.

And lastly, did the amazing photoshoot you just had with Mike Ruiz free something in you? I don’t think we’ve ever seen this side of you.
I know. Yes, it was so awesome. It was liberating and it unleashed a hungry leather man.

CREW CREDITS:
Talent: Lee Daniels
PhotoBook Editor-In-Chief: Alison Hernon
PhotoBook Creative Director + Photographer + Producer: Mike Ruiz
Interview by Richard Pérez-Feria
Videographer: Mike Vernazza
Fashion Stylist: Alison Hernon at Exclusive Artists
Groomer: Janice Kinjo at The Wall Group
Assistant Fashion Stylist: Atėnė At
Tearsheets by Daniel López, Art Director, PhotoBook Magazine
Photo Studio: Love Studios NYC

Lee Daniels, Genius At Work