JUDY WOODRUFF: Filmmaker Ava DuVernay has been breaking down walls in her industry for
several years with widely acclaimed films.
Now, as Jeffrey Brown tells us, the pioneering director is taking on a different challenge,
overseeing the adaptation of a much-beloved book, a movie with a big budget and big expectations
to boot.
JEFFREY BROWN: It's a trip to a fifth dimension of space travel through what's called a tesseract,
a kind of portal through the galaxies, better known to millions of readers as "A Wrinkle
in Time."
Madeleine L'Engle's beloved 1962 science fiction novel for young readers now comes to new life
as a big-budget Disney film, as young Meg Murry and her companions search the universe
for her missing scientist father, and do battle with dark forces of evil.
AVA DUVERNAY, Director, "A Wrinkle in Time": I saw the girl.
I saw the girl as hero, Meg Murry.
JEFFREY BROWN: This week in New York, I spoke to director Ava DuVernay.
AVA DUVERNAY: The girl who's the leader, even though she doesn't think that she is or can
be.
I loved that story and wanted to make sure that it was told, but also told from a perspective
that included images where all kinds of girls and boys could possibly see themselves in
it.
It's the same story.
Just has different skin.
JEFFREY BROWN: It's a deeply emotional story of love and loss, but one in which science
and brains are more important than brute force.
The features Oprah Winfrey, ®MD-BO¯Mindy Kaling, and Reese Witherspoon as the three
mysterious astral travelers who serve as guides to the young adventurers.
At the heart of the story here, a mixed-race family, with 14-year-old ®MD-BO¯Storm Reid
playing Meg.
AVA DUVERNAY: I'm conscious of the fact that there hasn't been a hero, kind of a cinematic
leading lady who's the heroine of her own story, that's been in the body of a black
girl.
And so to have the opportunity, with Disney's blessing, to say, let's expand this and make
sure that all kinds of kids can see themselves in the film, and I'm proud of that, simply
because, really, something that Mindy Kaling said to me: I used to love this genre, youth
fantasy/sci-fi, but it never loved me back.
I never saw myself in it.
JEFFREY BROWN: Is this something you thought about from the moment you took it on, or as
you were thinking about what you were going to create?
AVA DUVERNAY: I don't have the privilege of not thinking about it, to be honest with you.
It's not like a quirky thing that I think about, or it comes to mind.
It's life.
And so, when I'm making a film, asserting myself in images of people like me, women
and people of color, in places where we have been long absent isn't a kind of cool thing
to do for the movie.
Asserting my presence in a film is not anything that requires any thought.
It just is, because it must be if I'm working on it.
JEFFREY BROWN: On Twitter, the 45-year-old DuVernay calls herself a girl from Compton
who got to make a Disney movie.
Today, she's a top director, producer, and screenwriter, as well as film marketer and
distributor, actively working to change the culture of Hollywood.
Her 2012 film, "Middle of Nowhere," made her the first African-American woman to win the
best director prize at the Sundance Film Festival.
She received wider fame and recognition in 2015 with her historical drama "Selma," which
received an Oscar nomination for best picture.
The next year, she made "13th," a critically acclaimed documentary about the intersection
of race and mass incarceration.
And she's the creator of the OWN Network television drama "Queen Sugar," set in Louisiana on a
family-owned sugarcane farm.
As the show's executive producer, DuVernay has made a point to hire all women directors.
With "A Wrinkle in Time," DuVernay becomes the first African-American woman to lead a
$100 million film production.
Is it surprising that that's still a thing?
AVA DUVERNAY: No.
I mean, we live -- I work in an industry where, unfortunately, it's no surprise that it's
taken until 2018 to make this so.
So, it doesn't surprise me.
It's bittersweet.
It's not anything that I applaud in myself or anything that I wear as a badge of honor.
I think it's a real indictment of...
JEFFREY BROWN: Because you look back at why it hasn't happened before.
AVA DUVERNAY: Yes, it's an indictment of an industry that's ignored incredible black women,
brown women, all kinds of women of color filmmakers for decades, a century, over a century.
So the fact that there's been a decision to put a light on me has nothing to do with me.
It has to do with a trend in the industry and the moment, and I happen to be standing
here.
JEFFREY BROWN: She recently formed a partnership with the city of Los Angeles and others to
fund 150 Hollywood internships for women, people of color and those with low income.
And DuVernay herself became a different kind of role model when Mattel made a Barbie Doll
of her.
At Sunday's Oscars, she appeared in a video calling for wider inclusion, and though she
praised this year's event, she says lasting change in the industry is still to come.
AVA DUVERNAY: I think change is a big word.
Is there a spark?
Is there a leaning-in, an interest, an awareness that change should occur?
Yes.
But change involves systems.
You know what I mean?
True change involves a real disassembling of architecture and systems that we have not
achieved, we have not even gotten close to.
JEFFREY BROWN: So, what does it take to change at this point, beyond the kind of work individuals
like yourself are doing?
AVA DUVERNAY: There's so many different layers, you know, filmmaker proficiency, what images
are seen as valuable, who are the curators, who are the people who are deciding what the
audiences should see, cultivation of audience, selection of where theaters are around the
country.
There's a cinema segregation that happens in this country.
I just took "Wrinkle in Time" to Compton, a city that has no movie theater.
We had to create a movie theater.
We had to create a movie theater in Selma to show the film "Selma," because it's a black
community with no movie theater.
So then you get into, which images are valuable and which audiences are valuable?
So it's a complex question.
JEFFREY BROWN: Yes, not only what is getting made, but who gets to see it, right?
AVA DUVERNAY: That's correct.
JEFFREY BROWN: Do you see yourself as an artist who is always interested in this examining
and remaking the world?
AVA DUVERNAY: Art is simply entertainment that has meaning, you know?
There are some things that are empty calories, and there are some things that are soul food.
And I prefer soul food.
JEFFREY BROWN: With "A Wrinkle in Time," DuVernay says she has the chance to speak directly
to young people.
AVA DUVERNAY: It's really about the times that I have been the most content in life
are the times that I didn't focus on the darkness, didn't focus on where I was from or what I
didn't have.
And it's just a shift in perception about the way we walk through our days.
Imagine if you had a million people living in that heart space.
It would be transformative for the culture.
JEFFREY BROWN: A shift in perception, like that wrinkle in time that transports the characters
in her new film to unimagined worlds.
For the "PBS NewsHour," I'm Jeffrey Brown in New York.
JUDY WOODRUFF: DuVernay's next project is a miniseries about the Central Park 5 case,
in which black men were wrongly convicted of a brutal rape.