Ava DuVernay is brilliant. Completely and awe-inspiringly brilliant. When I say that, I hope I don’t come across as if I’m shocked. I only mean to state it as fact. But it isn’t something that can be said enough.
She’s currently exposing that brilliance to the world in the form of her latest film, Selma, a historical drama about the campaign for voting rights among black people in Selma, Alabama in 1965. The film’s star, David Oyelowo, lobbied for DuVernay to come on board as director after a number of big names dropped out. For that, Oyelowo, too, can be called brilliant. There is no other director, to my mind, who could have so deeply tapped into the richness of the black experience in America, combined that with this compelling history, and retained the humanity of people we, as a nation, think we know and those we’ve never heard of. DuVernay did all of that and more.
I had the pleasure of speaking to DuVernay about this amazing film, the current movement to protect black lives, and much more. Our conversation only further convinced me that her brilliance isn’t something I, or anyone else, can convey. You simply have to experience it for yourself.
We spoke on December 27, 2014—two weeks after DuVernay became the first black woman to be nominated for a Golden Globe for best director, and on the day the city of New York held a funeral for Officer Rafael Ramos, who, along with Officer Wenjian Liu, had been killed a week earlier.
The transcript has been lightly edited for clarity.
Mychal Denzel Smith: You started making this film before Ferguson grabbed national headlines, before Michael Brown was killed, before there were a hundred-plus days of protest, before any of the backlash to the protests. But now this film exists in a world with all of these things on our minds. How do you feel about releasing it into this political climate?
Ava DuVernay: I think it’s just an honor to have something that might add to the conversation in some way. People are coming into it with heightened feelings. People are walking into this film about history feeling like it’s speaking to the present. For a filmmaker or storyteller, telling a story about the past and for it to feel current and urgent and immediate, through no doing of mine, but because of the time that we’re in is certainly moving and certainly an honor for us to have something to say during this time. It’s really just trying to provide some connective tissue between then and now and to just remind folks that this is not now, and maybe just illuminating that fact in some way might change some of our ideas about what the next steps are. If you know that what we’re taking is not a first step, but a step from a journey that’s been decades long, centuries long, then that perhaps changes the way you walk.