A Quote by Ava DuVernay

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.
People hear traditional jazz and think it's stale, where there are so many ways it can be opened up. With New Orleans and old-time grooves, there's no limit in what can be done with that. I want to break the stereotype of what traditional jazz is.
[Donald Trump ] would make history in so many ways because he is a candidate who eschewed the traditional arts of political campaigns, including field organization, traditional advertising, debate preparation and policy knowledge.
The web attacks traditional ways of doing things and elites, and this is very uncomfortable for traditional businesses to deal with.
I regret the way that America has elected to make films for its bluntest section of society and in ways that flatter them, and we have to recognize how much that is being done for money. We have to find another way of measuring ourselves. And film is one of the few ways that might be done.
I've actually done more [music for] films than television. I love the process of writing for a film. I love that you are creating this suite of music for a film, that's all tied together sonically and thematically and hopefully people associate with the film. They all are meaningful to me in different ways.
In many ways, I think it's easier in some ways, or it's more entertaining or more guaranteed to be entertaining than traditional improvising. Again, because you're not just you in your body.
Whether through TV, film, online, app, or web, we will find ways to tell our stories with authenticity, and engage with our viewers beyond traditional means.
I hate any match that isn't a traditional Tag Team Match or a traditional Singles Match, because anything can happen. It's truly one of those deals where it's all about being in the right place at the right time.
To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.
I have been in films before where people have been in a rush to label them as a Black film or even as a history lesson. These are ways to make the film feel niche and not for everyone.
There is an interesting and new way to be excited about the fashion world today maybe. The traditional path of fashion as simple magazine images has dissolved - we are seeing new and innovative ways to share, create, and enjoy ideas. I am challenged to learn and explore paths of finding new photographers, stylists, and vision-makers online or through direct contact, connecting with ideas and creativity in new ways, and making images with different outlets. Sometimes more unbridled avenues and unconventional ways lead to things I wouldn't have thought of yet.
It takes a strong effort on the part of each American Indian not to become Europeanized. The strength for this effort can only come from the traditional ways, the traditional values that our elders retain.
In a contest between new technology and old ways of life, it is the traditional rhythms that will hold. Traditional societies make up more than two-thirds of the world, the two-thirds that will not be going online to "save" time but will remain wedded to the knowledge that if the bus doesn't come that day, it will come someday. After all, there is nothing but time.
I don't want to do a war film per se. Nor do I want to do a political film.
If I could put in 100 per cent effort to make a film, then a dance film would require that I put in 200 per cent. Making a regular film is much easier.
A period film, where you, for example, where you have a traditional wardrobes, you are bound to act a certain way. But in a modern film, a lot of body gesture.
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