Deconstructing a Movement with Ava DuVernay
Last week, Paste closed out 2014 with a retrospective on our Film Person of the Year, Selma director Ava DuVernay. Our cover story is, for all intents and purposes, a love letter in essay form to the tremendous experience of violence and glory in one of the year’s best films. With Selma gearing up for wide release in the coming days—and hopefully attention from the Academy—we are excited to continue our coverage into 2015. Paste caught up with DuVernay to talk about deconstructing violence, and pulling back the veil on King. Like Jill Soloway, another director who blew us away this year, DuVernay also opens up about the importance of embracing the personal and spiritual elements that often inspire the most powerful and universal creations.
Paste: First off, I’m supposed to pass on greetings from our Movies editor, Mike Dunaway.
Ava DuVernay: Yes! He’s a good chap. Tell him I said “hello.” And thanks to him, and you, and everyone there for that cover story. It was really, really beautiful.
Paste: Thank you! I know that you were very involved in the writing process with Selma. Can you remember one of the first scenes you worked on?
DuVernay: We were just going chronologically, so the first scene that I wrote was the [bombing of the] four little girls. I’d had that as the first scene, but when I got in the editing room, I found a different way to open the film.
Paste: The first big shock for me from the film was that church bombing scene. Even though I saw it coming, I kept telling myself that you wouldn’t really show it. Can you talk about how you thought that through, and why it was important that the scene be presented in that way?
DuVernay: First, it was very important for me that we deconstruct violence. So often violence in films is just a physical act, and not emotional. But violence that takes place when any body—the bodies of children, the bodies of black people, the bodies of women, the bodies of white men, the bodies of whomever—when those bodies are broken by violence or injustice, it’s emotional. So it was important to make [the audience] fall in love with these girls a little bit, and get to hear what these little black girls talked about.
Paste: Yes.
DuVernay: This way you could really understand that they were in what everyone in the world thought was a safe space at the time, and you could understand the violence that entered into that sanctuary.