Ava DuVernay quotes:

Be passionate and move forward with gusto every single hour of every single day until you reach your goal.

I think I am a little jealous of women who have great girlfriends as adults.

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.

In documentaries, there's a truth that unfolds unnaturally, and you get to chronicle it. In narratives, you have to create the situations so that the truth will come out.

I'm a prison abolitionist because the prison system as it is set up is just not working. It's horrible.

I really admire Werner Herzog and Spike Lee. They're amazing documentarians. If you took away all the narratives, they'd just be amazing documentarians."

I really admire Werner Herzog and Spike Lee. They're amazing documentarians. If you took away all the narratives, they'd just be amazing documentarians.

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.

On my very first show, my partners in it, Oprah Winfrey and her network, and studio, Warner Horizon, who doesn't get enough credit, said, "Lady, we're going to let you call the shots the way you want to."

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.

Hollywood needs more women directors, and Mama Ava needs a carafe and a half of that sweet vino divino.

I wish I could be the black woman Soderbergh, and put the camera on my shoulder and shoot beautifully while I directed.

We're a new world and it's not pretty. It's going to be for the brave to figure out how to survive in this.

Figure out what you need to do to be the heroine of your own story.

I've been to Sundance eight times as a publicist and thought I was very prepared. I mean, who could've been more prepared for me? A publicist who's been there eight times. Getting there as a filmmaker was a completely surreal, different, unexpected experience.

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.

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.

I think that if we really want to break it down, that non-black filmmakers have had many, many years and many, many opportunities to tell many, many stories about themselves, and black filmmakers have not had as many years, as many opportunities, as many films to explore the nuances of our reality.

If you have the ability to do something, you should do it.

Don't wait for permission to do something creative.

We're told that independent film lovers... folks that are used to watching art house films, won't come out and see a film with black people in it - I've been told that in rooms, big rooms, studio rooms, and I know that's not true.

I didn't go to film school. I got my education on the set as a niche publicist in the film industry.

I don't understand the iPhone. I just don't get it. Don't ya'll have to write serious emails throughout the day? How can you possibly manage detailed missives on a phone with no keys?

As long as you're in an environment where the worth of the project isn't based on the project but what its predecessors did, it's not truly inclusive.

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.

At the end of the day, I had to remain dedicated to historical accuracy.

If your dream only includes you, it's too small.

I think there are a lot of people in this industry that have the ability, that have the position, they have the opportunity, they have the privilege to call the shots and could do it too.

True change is a long game, and it remains to be seen if this is change. We've had years before where there have been great years for filmmakers and performers of color, LGBTQ filmmakers and performers, women.

If you're doing something outside of dominant culture, there's not an easy place for you. You will have to do it yourself.

Usually, you have two people in a scene, and in the history of cinema the hero is most likely going to be the white guy. And the other guy is his friend who is carrying the bag or whatever, and you're not going to light for that guy.

Netflix represents, as well as all the streaming services, something that I've been talking about being so important to inclusive voices around films.

If your work is solid, it really doesn't matter what people you know because good work starts to rise to the top.

Stop asking, start doing.

When you're in your lane, there's no traffic.

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 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.

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.

Some black filmmakers will say, "I don't want to be considered a black filmmaker, I'm a filmmaker." I don't think that. I'm a black woman filmmaker.

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."

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.

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.

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.

Those [old] days are gone... accept the reality and do it.

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?

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.

Historically, you've had really muddy, unforgiving, unintentional images of black people.

The documentaries were something that I could do for a small amount of money, and then I felt like as long as I found the truth in the stories I was telling as a doc, I could teach myself filmmaking through doc filmmaking.

Folks can look at this issue and read it and it can feel like medicine, it can feel epidemic. We wanted this to hit people in their gut, and the hope is that by doing that, we can get more people to think more deeply about these issues.

I feel like it had an impact, in that it started the attention that has been paid to what was happening. It started to get us into this whole conversation about prison reform, the whole bipartisan dialogue that's been happening over the past five, six years about this, where you have a Van Jones and a Newt Gingrich, and you have the Rick Perrys and so forth getting up and talking about the need to reform.

You know, often films that are deemed positive, nobody wants to see them.

I tell the stories that are of interest to me.

I just don't think there's a lot of support for the woman's voice in cinema, and it becomes really difficult to raise that money and start again every time.

Film school was a privilege I could not afford.

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.

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.

Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through.

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 how to make films and now I'm able to make films with the resources and the tools that match my imagination, and what filmmaker doesn't want to do that? I feel very fortunate to have that. I don't take it for granted.

Roger Ebert was such a champion of underrepresented filmmakers. He was a very big deal to me. It shows the power of critics. People who write about film, like you, can really affect the confidence of a young filmmaker. He did that for me, so it was such a pleasure to have an opportunity to talk about Roger in the movie.

All the films I do, I write the scripts, I direct.

[ Age Of Trump] was something that I really wanted to do, and I also really wanted it to feel evergreen, so we made a lot of attempts not to bog it down in the campaign fight, even though we were right in the middle of that. I wanted it to be something that could live on and be a conversation piece long after this inauguration, whoever it was going to be.

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 feel mushy these days when I think about art and artists and the work that lies ahead for us. There's good work to be done and there's joy to be found in it, I think.

The fact that we have people who have headed up oil corporations now assigned to places in cabinet.

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'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.

What we tried to do in 13th was get to the bottom of that. What were they motivated by? But certainly the attention that the Attorney General's office paid to it allowed for there to be some dialogue across the aisle that I think were the first steps then in change.

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.

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.

For far too long, independent voices have been relegated to places where these ideas are not seen on a mass level.

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 know that sounds a little bit corny, but I've found some solace in that. I hope art can continue to do that for people, I really do.

These are dark times for a lot of people who believe differently than our incoming administration [of Donald Trump], but there's also joy there, and there's also something in unifying around the things that we do believe in.

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.

We've had these bursts of cool years here or there but that's not change. That's a trend. You only hope that this could be the beginning of true change.

Is there deeply embedded change within our industry? And I would say, as a black filmmaker, it's easy for me to focus my attention on black work, but true change would include brown work, and it would include work by Asian-Americans, and it would include natives, and it would include women, and it would include more LGBTQ voices.

I think when we get to a place that this is not the story, that everyone's story is a part of the story, then we can say this has changed. Until then, these are steps to change if they're consistent.

The idea that we criminalize fellow human beings based on optics, based on the need to progress in politics and gain power, and for economic reasons and financial reasons, for financial gains, and we throw out humanization for criminalization.

I did not have any problem with speaking up because my mother, my family, my grandmother, my aunt - I grew up in a family dominated by women - always encouraged me to do so. And if a girl is unafraid, then the world is her oyster.

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.

By the end of the documentary [ '13th'], you really understand what prison is, what the prison industrial complex is, where this whole Black Lives Matter movement comes from, the history of resistance, the history of how politicians have used criminality over the decades for a particular political gain. It's to give people an understanding of it so they can make their own decisions about how they want to be in the world.

We're living based on laws and ideas that we, as a society, embraced back in the days of slavery.

Most of us think prison is a place where bad people go - which is what I thought for a long time - until you really start to look inside the system and you see, this is not right.

I was talking to Shonda Rhimes the other day and I said, "I. Do. Not. Know. How. You. Do. This." While we're writing episode 10, episode 6 is shooting, episode 3 is in the edit, and episode 2 is in its color session...You've got seven episodes in different parts! It's a wild, wild, wild ride, which I thoroughly enjoyed. It was badass and amazing.

When you say cultural icon, I scrunch my nose.

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.

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.

I just remember not having access to films as a young person who loved films but living in Compton.

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.

Because my mom always told me that I could. From a very early age, I felt comfortable leading.

We have to find new ways to work without permission, new ways to turn corners and go through doors that are closed off to us to create our own audiences and our own material independently.

[ Hollywood] is a patriarchy, headed by men and built for men.

It was easy for me to show the films to the studio and the network and say, "This is who I'm hiring."

All these women had directed movies that I loved on the film festival circuit, but couldn't get a job making television. That's how locked down TV is.

In addition to that, we have a woman post-production supervisor, a woman colorist, a woman first AD, a woman production supervisor... I think it's really sad when I hear so many shows are content to stay in a mono-cultural realm, not realizing how they are subtracting from their own greatness by not inviting women and people of color into the space - that seasoning that makes the recipe even more great. It was absolutely imperative for me. It's how I run all my crews.

My parents [are my hero]. They've helped me be who I am.

I'm not the most athletic gal, but because making a movie is very physical, I slow down on the Krispy Kreme and Ice Blendeds. I start to get leaner and more focused - like I'm going into a boxing match - because I'm about to really try to put this idea on its feet.

I'm a huge Dirty Dancing fan. I feel like I should be reading [William] Shakespeare, but I'm watching Baby not be in a corner.

It's very nourishing and collaborative - kind of the true essence of what one would want an artistic collaboration to be [the collaboration with Oprah Winfrey].

I've passed along some advice that Oprah [Winfrey] gave to me: When something bad is happening, it's not happening to you; it's happening for you.

When you force sleep, it doesn't happen.