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.
I soon found I could not talk about that in a vacuum without understanding the historical, cultural, political context, and giving it some legacy and some roots, and so then it just started to have tentacles that just spread out in all these places, and already a vicious project became pretty overwhelming in scope, and so it was a lot of diligent, day-to-day fighting with the footage, trying to get it down to a place where it was manageable and emotional.
Netflix represents, as well as all the streaming services, something that I've been talking about being so important to inclusive voices around films.
Those [old] days are gone... accept the reality and do it.
I'm a prison abolitionist because the prison system as it is set up is just not working. It's horrible.
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.
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.
I'm not to say that my male counterparts do, but certainly, it feels very special to me because I know that so few women have had the opportunity to do what I'm doing, so I'm thrilled by it every day.
I think good publicists are just like good mommies - always looking out, making sure folks are comfortable and making sure that folks are on time and making sure that folks are getting what they need and know what they need to do.
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.
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.
I always go into a blocking rehearsal with an anchor, with a blocking plan. And sometimes they'll step into the room and they'll be in costume and you're like, "That sucks, that's not going to work. Let's think of something new."
I love making films. I'm happiest when I'm doing it. For me, the fear is not being able to make the next thing and not being able, as a woman filmmaker and as a filmmaker of color, to put together the resources to make another thing.
We [Americans] know Martin Luther King Jr. as a statue. We know him as a holiday. We know him as a speech. We don't know him as a man. Most people don't even know the whole speech, just "I have a dream." They don't know what his speaking voice was like, how he looked at his wife, or that he had four kids.
Hollywood needs more women directors, and Mama Ava needs a carafe and a half of that sweet vino divino.
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!
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.
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.
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.
Working full-time as a filmmaker has been a dream come true.
The fact that's why the prisons and stock in private prisons rose the very day after the election results [for Donald Trump] were announced. The fact that progress that was made for people of color, for women, for LGBTQ people, are all at risk.
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.
The fact that we have people who have headed up oil corporations now assigned to places in cabinet.
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.
For film, you know, the Tarantinos and Nolans of the world who are very focused on a certain kind of film aesthetic and a certain kind of presentation, to be honest, that comes from a place of privilege. It comes from a place of always having access to such, but when you ain't never - you can't see it because you can't even get to it.
"When I look in the mirror, I see a woman who is happy."
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