Time will tell ... whether folks want to point and stare at the black woman filmmaker who made a certain kind of film, and pat her on the back, or if they want to actually roll up the sleeves and do a little bit of work so that there can be more of me coming through.
There’s something very important about films about black women and girls being made by black women. It’s a different perspective. It is a reflection as opposed to an interpretation, and I think we get a lot of interpretations about the lives of women that are not coming from women.
When I'm marketing a film, whether its mine or someone else's, I work with a great deal of strategy and elbow grease until the job is done.
There's never been a film with Dr. Martin Luther King, Jr. at the center released in theaters. Ever! One does not exist. You've only seen tele-films and stage plays about him. Yet, we have big screens biopics about all kinds of people. So, I think it's only right that there be a full-length feature about Dr. King. I don't think there could be enough of them, but there should be at least one. So, here it is!
I know when we were making the film [ Age Of Trump] that we knew that there was going to be some kind of radical change coming on the horizon. That's why it was important for us to get it out before the election.
I think it's a wonderful time to be a black woman who makes films. It's a good time to be an artist period. Traditional models of making and consuming art are breaking down and being rebuilt. I find that to be incredibly exciting as a filmmaker and film marketer.
You know, often films that are deemed positive, nobody wants to see them.
Ignore the glass ceiling and do your work. If you're focusing on the glass ceiling, focusing on what you don't have, focusing on the limitations, then you will be limited. My way was to work, make my short... make my documentary... make my small films... use my own money... raise money myself... and stay shooting and focused on each project.
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.
I'm making and marketing my films, by any means necessary, and enjoying life while I do so.
I thing for female filmmakers a big issue is making their second and third films. You see the statistics, and the dropoff on the second and third [films] , are dire.
All the traditional models for doing things are collapsing; from music to publishing to film, and it's a wide open door for people who are creative to do what they need to do without having institutions block their art.
It sounds kind of flighty, filmmaker-y, but I believe films are a piece of art. They are meant to be what they're meant to be, and sometimes the artist is informed by the film of what it needs to be.
I mean, if this [film Age of Trump] wasn't on Netflix, it would be playing at some lovely art house theater on the West Side once or twice or for a week or maybe two weeks if I was lucky and then it would go away, and I'd be lucky if I could sell the DVDs off my website.
When I'm marketing a film, whether its mine or someone else's, I work with a great deal of strategy and elbow grease until the job is done. It's pretty simple really. I just dive in and start digging. Yes, I'm fortunate to know the in's and out's of a true studio-level marketing campaign. But really, anyone who is diligent and well-researched can pull it off too. Its easier for me, but it doesn't make it impossible for others.
Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through.
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.
I just remember not having access to films as a young person who loved films but living in Compton.
More people have seen 13th on Netflix than have seen all my films put together between the Sundance winners and Selma, and the whole international distribution of film.
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.
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.
Black people loving and losing is something we don’t see enough of. We’re always in these heightened situations like something big is happening, something funny or something violent. And you know what? Sometimes we die of breast cancer or a broken heart. Things happen that are just not being explored cinematically. It’s time we reinvigorated that type of film.
I just remember not having access to films as a young person who loved films but living in Compton. In order to see the film, I had to get on the bus and travel quite a ways to get to an arthouse theater - none of which you're gonna find in black and brown communities - to see anything that was outside of what the studios fed me, and that's not the case anymore.
Netflix represents, as well as all the streaming services, something that I've been talking about being so important to inclusive voices around films.
All the films I do, I write the scripts, I direct.
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