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The traditional ways to make a film, the traditional ways to share a film, have all collapsed. There are no gatekeepers, per se, any more, and anything can be done. Truly, I feel that.

Ava DuVernay

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Ava DuVernay
Age: 52
Born: 1972
Born: August 24
Film Director
Film Producer
Filmmaker
Screenwriter
Showrunner
Television Producer
Writer
Long Beach
California
Ava Marie DuVernay
Ways
Film
Anything
Done
Gatekeepers
Feel
Collapsed
Feels
Traditional
Way
Truly
Make
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More quotes by Ava DuVernay

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I just remember not having access to films as a young person who loved films but living in Compton.
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Don't wait for permission to do something creative.
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There's no reason not to employ, seek out and take a chance on a woman filmmaker that you might not have been looking at her direction. She's not done it before because you've not given her the opportunity to do it before, and I'm just happy that folks like Jessica Jones' Melissa Rosenberg and folks like Ryan Murphy are also embracing this idea.
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Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through. Studios no longer do this for a large percentage of films. The odds that your film will get a major campaign are dim these days. So you must find and nurture your own audience and make sure your film has a life.
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I tell the stories that are of interest to me.
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At the end of the day, I had to remain dedicated to historical accuracy.
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To pretend like Hollywood is anything other than that is disingenuous. #OscarsSoWhite is trendy, but for women filmmakers and filmmakers of color, it's not a trend. This is our reality, and it's important that we do something to change it.
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When I went out to shoot for the first time, I thought this was going to be about the prison industrial complex, purely about prison for profit and the ways in which there's an industry making money and profiting off punishment.
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Stop asking, start doing.
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I make films about Black women and it doesn't mean that you can't see them as a Black man, doesn't mean that he can't see them as a white man or she can't see them as a white woman.
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I didn't start out thinking that I could ever make films. I started out being a film lover, loving films, and wanting to have a job that put me close to them and close to filmmakers and close to film sets.
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Netflix represents, as well as all the streaming services, something that I've been talking about being so important to inclusive voices around films.
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I think that women definitely have a special bond as friends that is hard to describe to men, and we don't often see that portrayed narratively.
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I don't want to say that in a place that's negative about what the fear is. I just want to be a realist.
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I wish I could be the black woman Soderbergh, and put the camera on my shoulder and shoot beautifully while I directed.
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The terrain of the face is the most dynamic thing you can point the camera at, to me. I love production design and bells and whistles and all of that. I love a technograin as much as the next gal, but a great actor's face? What else should we be looking at?
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You know, often films that are deemed positive, nobody wants to see them.
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I think I am a little jealous of women who have great girlfriends as adults.
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A lot of work was done with one of my best friends and editor, Spencer Averick, who's edited everything I've ever made from the very, very first documentaries the very, very first films I made were docs, so we learned the form together.
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I think there are pieces of the film [Age Of Trump] that are even more emotionally resonant and more vital to talk about than ever.
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