Unveiling 50 the best Ava DuVernay quote for Inspiration

In the world of cinema and activism, Ava DuVernay stands as a beacon of inspiration, wielding her words as powerful tools for change and empowerment. Her wisdom encapsulated in quotes resonates deeply, serving as guiding lights for those navigating the complexities of life, creativity, and social justice. Let’s embark on a journey through 50 of the most impactful Ava DuVernay quote that stir the soul and ignite the flames of determination.

• If your dream only includes you, it’s too small.
• Be passionate and move forward with gusto every single hour of every single day until you reach your goal.
• Figure out what you need to do to be the heroine of your own story.
• Don’t wait for permission to do something creative.
• 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.

• 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.
• When you’re in your lane, there’s no traffic.
• As a Black woman filmmaker I feel that’s my job: visibility. And my preference within that job is Black subjectivity. Meaning I’m interested in the lives of Black folk as the subject. Not the predicate, not the tangent.[These stories] deserve to be told. Not as sociology, not as spectacle, not as a singular event that happens every so often, but regularly and purposefully as truth and as art on an ongoing basis, as do the stories of all the women you love.
• If you’re doing something outside of dominant culture there’s not an easy place for you. You will have to do it yourself.
• 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.

• 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.
• If you have the ability to do something, you should do it.
• 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.
• Stop asking, start doing.
• 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.

• If your work is solid, it really doesn’t matter what people you know because good work starts to rise to the top.
• 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.
• When I look in the mirror, I see a woman who is happy.
• 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.
• 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 know that there are a lot of great women that have gone before me, so it’s important to acknowledge them.
• 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.
• Because my mom always told me that I could. From a very early age, I felt comfortable leading.
• I didn’t go to film school. I got my education on the set as a niche publicist in the film industry.
• 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.

• 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.
• 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.
• 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 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.
• [ 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.

• At the end of the day, I had to remain dedicated to historical accuracy.
• 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.
• 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.
• 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.
• 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 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 always find it fascinating to ask people, why they’ve chosen to live their life as an artist? Why be an actor, a singer, an author, a filmmaker? I’ve heard such inspiring answers to that question.
• 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’m making and marketing my films, by any means necessary, and enjoying life while I do so.
• For far too long, independent voices have been relegated to places where these ideas are not seen on a mass level.

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

• 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.
• 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 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.
• 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.
• 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.

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