DUVERNAY Paul Garnes and I, we always knew that, even though we were on this very finite independent budget, we needed to get to the real places. We needed to be in the real square of Bebelplatz [in Berlin], where the books were burned. [In 1933, a Nazi group and supporters burned more than 20,000 blacklisted books in the square.]
Could I have found a square in Georgia to do it and enjoyed the tax credit? Probably. Would it have felt as emotionally resonant as it was for everyone when we were actually standing there in the place where it happened? Certainly not. Or to go to Delhi, in a country that is closely associated with caste, and to be there as an African American and just fall into a sea of beautiful Brown people. To understand that even as I look at them all and see them as one, they don’t see each other that way? That these divisions have been ingrained in their faith, culture and society?
For me, coming from a society where it’s all about skin color, it helped me understand that we as human beings will always figure out how to bifurcate and categorize and create hierarchy. That’s the core of so many of our problems. If you don’t know that, then you’re treating the symptoms and not the disease.
Ava, there’s a way in which this movie feels like a synthesis of all the work you’ve made since your narrative feature debut more than a decade ago. There’s a meditation on grief à la “I Will Follow,” an intimate love story like in “Middle of Nowhere,” and historical figures involved in the struggle for racial justice as in “Selma” and “13TH.” Were you conscious of that while you were making it?
DUVERNAY I wasn’t. But my editor, Spencer Averick, who I’ve worked with since my first movie, said that to me at one point. I feel like everything I’ve done before, even shooting internationally for “A Wrinkle in Time,” which is a whole different discipline, prepared me for this film. I felt really in the pocket. There was nothing on set that was like, “I don’t know how to do this scene,” or, “I don’t know what’s next.” It was, “I got this,” which was an overwhelmingly fulfilling experience.
I felt like, if tomorrow I decided I just was going to be a painter or, I don’t know, go back to being a publicist, I could, because making this movie was so satisfying. In the past, I would finish a movie and feel like, “I hope they like it!” But this time was different. I think a lot of that feeling comes from using their money — the Hollywood machine. This was made outside of the machine, and it felt very free and very liberating.
