A Quote by Ava DuVernay

It was easy for me to show the films to the studio and the network and say, "This is who I'm hiring." — © Ava DuVernay
It was easy for me to show the films to the studio and the network and say, "This is who I'm hiring."
Good female parts are hard to come by, so I go all over the place to find them: cable TV, network movies of the week, foreign films, independent American films, studio films, the stage.
I respect the hell out of everyone who does a network show. That is a marathon. It's so many episodes, and it can be a meat grinder. Anyone making a network show, and on top of that making a very good network show, that's an insane feat of Herculean endurance and fortitude.
There are things I'm doing with 'The After' that would've never flown on 'The X-Files' and on network television, so it's more permissive. That's not to say that you want to abuse that. I think that a show like 'The X-Files' actually worked better as a network show with the restraints put on it, the censorship that was applied.
I've never done a studio movie, let alone worked for a network. Every one of my films has been independently financed.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
We have heard projects with some of the writers, who we've been in business with for a long time at the studio, that we've heard as a studio - often, pitches that are still in their formation stage where we or the writers have wanted our input on developing them. We've probably heard more pitches with the network hat on. Certainly all of the outside pitches are that way, and many of the pitches that have been in great shape coming out of the studio we've heard from a network perspective.
I think Supernatural is the last WB show that's still on the air. It came from The WB and transitioned to The CW. I've been with The CW from the start of The CW, and it says a lot for our network and for our studio that they stood by the show and continued to keep the show high on their priorities list.
My films have been successful, and therefore, the process has accommodated me. When the studio said 'no,' I did it anyhow. Now they don't say no to me.
I know that I'm a quirky guy, to say the least. I don't know how easy I am to cast for a network. It hasn't been because I haven't tried. But am I dying to be on a TV show? No.
To go from working with a group of people in a sketch-comedy show on a small network, where it was all about just creating funny stuff, to being on a network show, and the pressures of that, and getting to know the new people who were involved in it. There was a learning curve for me. But it was an education.
When you book a network show as an actor, it's like, 'Oh my gosh, I booked a network show,' and then it gets picked up.
[Exorcist ] is given all of us a great opportunity to show something new on network TV, in terms of the quality of it. It feels much bigger than a network show.
It's quite common for a television show to start off as one thing and end up as something completely different. There are so many cooks in the kitchen - the network, the studio.
I've been on my share of network dramas and comedies, and the problem sometimes in a network is they have a single-minded focus on making the show true to whatever genre it is. If you're on a drama, it better be procedural, it better fulfill all the demands of a procedural show, and you better keep those episodes independent, so if I'm watching the show in seven years as its syndicated on some other cable network, I don't have to know what happened before or after the episode. If you're on a comedy, everything has to be funny and wacky and zany.
There's big studio films I didn't want to do. I didn't want to go through the hoops and ladders. I wouldn't have been able to work with the directors I've worked with if I did those studio films.
I sometimes hear people say women don't want to direct studio films, but I do. I want to direct big films, little films, TV. I want to do it all.
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