On a rainy late-December morning, with the scent of Christmas still wafting in the New York City air, trailblazing director Ava DuVernay is energetic even after coming off a red-eye from Los Angeles just a few hours earlier. At 44, DuVernay has already racked up an impressive list of historic accomplishments as an African-American woman: She was the first to win Best Director at Sundance, in 2012; the first to be nominated for a Golden Globe Award for directing, in 2014; and only the second to be invited to join the prestigious director&rsquo;s branch of the Academy of Motion Picture Arts and Sciences, in 2013. In September 2016 her documentary, 13th, a powerful critique of mass incarceration in the U.S., was the first nonfiction feature ever to open the New York Film Festival. The doc has since received an Oscar nomination&mdash;the first for a Black female director. That&rsquo;s a significant marker after the #OscarsSoWhite controversy swept Hollywood two years ago. And the accolades keep coming. Last November DuVernay began shooting Disney&rsquo;s adaptation of the young adult classic A Wrinkle in Time, set for release in April 2018. It&rsquo;s an achievement that has garnered her yet another first as the only woman of color ever to direct a movie with a $100 million budget. How does she do it? &ldquo;I don&rsquo;t have to approach film like a man would, or like anybody else I read about, because it&rsquo;s personal,&rdquo; DuVernay says. &ldquo;So there&rsquo;s no right way or wrong way. Directors talk about their process but that doesn&rsquo;t have to be my process. My process is where the sets feel very familial, where I like to know my cast personally and where I value who people are more than their names.&rdquo; It&rsquo;s important to her, she says, to &ldquo;imbue the sets and the experience with a sense of myself, a sense of warmth, a sense of family, not shying away from the things that make me a woman, that make me a Black woman, and just embracing those things and letting that come out in the material itself.&rdquo;&nbsp;When asked what it feels like to be on a DuVernay set, Oprah Winfrey pauses for a long time, closing her eyes. &ldquo;It feels like&hellip;home,&rdquo; she finally says. &ldquo;Comfort. Support. Guidance. Compassion. Warmth. Caring. Love.&rdquo;Winfrey has collaborated with DuVernay as both a producer and an actor on the Oscar nominated film Selma, and the two are executive producers of the OWN series Queen Sugar, an original drama about three siblings who inherit an 800-acre sugarcane farm in Louisiana. For the past three months the friends were back at work together on the set of A Wrinkle in Time. (Winfrey portrays Mrs. Which.) It&rsquo;s a close relationship and one that Winfrey says is reminiscent of the bond she shared for so many years with her own mentor Maya Angelou.Being on a DuVernay set is like being around family, says David Oyelowo, who starred in the director&rsquo;s Middle of Nowhere and Selma. &ldquo;Who we are intersects with what we create, and Ava is someone I genuinely adore spending time with,&rdquo; he says. &ldquo;I refer to her as my sister because I feel like I&rsquo;ve known her far longer than I have. We barely need to say words for me to know what she needs out of me.&rdquo; His goal, adds Oyelowo, is to continue doing projects with her forever: &ldquo;Until the day I die.&rdquo;&ldquo;I saw Ava on the set of Selma,&rdquo; recalls Winfrey, &ldquo;out in 104 degrees, finding knee pads for some of the older women who needed them. She&rsquo;s walking around handing out knee pads: &lsquo;Ma&rsquo;am, here. Put this on your knees. Ma&rsquo;am, I think you should have some water.&rsquo; And she&rsquo;s got a whole thing of waters. She, the director, comes from behind the camera and she&rsquo;s passing out water.&rdquo;Clearly DuVernay has made her own rules in the film industry. She&rsquo;s a meticulous planner, say those who know her, and she shows up on a movie set fully prepared, organized and clear about what she wants and how she&rsquo;s going to get it. Oyelowo says he has never had to reshoot any scene with DuVernay and calls her a genius for somehow managing to make Middle of Nowhere in just 19 days and with a meager $200,000 budget.But she&rsquo;s also had good timing on her side.Twenty-five years ago, when Daughters of the Dust, directed by Julie Dash, became the first feature by an African-American woman to receive a general theatrical release, there were often insurmountable barriers for women of color filmmakers, says DuVernay. &ldquo;You had to shoot on film. You had to process that film through certain labs,&rdquo; she says. &ldquo;I couldn&rsquo;t just pick up any camera or just edit on my laptop. Or, if no one will take it, put it up on YouTube and become an Issa Rae.&ldquo;There&rsquo;s a democratization of the artistic voice now,&rdquo; she says, and she intends to take full advantage of the moment.&ldquo;I feel, if I&rsquo;m honest, that there&rsquo;s a short window for me in the business. There&rsquo;s no Black woman who&rsquo;s had a 20-to-30-year consistent career in which she&rsquo;s been free to make what she wants to make and has had people wanting to finance that.&rdquo;So DuVernay works. And works. And works. Remembering how her mother strived for so many years, moving up from a job as a bank teller in Compton, California, to a position in hospital administration to a role as the head of an HR department.&ldquo;I remember all the steps,&rdquo; says DuVernay. &ldquo;And it was just something about the rigor of her going to school at night and raising three girls as a single mom&hellip;. That was a big influence on me.&rdquo;<img src="http://magarticles.magzter.com/articles/12412/209317/58ab857f3c715/1487635926_loc.jpg"" owidth=1264 oheight=2236" style="height:1061px; width:600px" />Perhaps one of her most remarkable accomplishments has been the way that DuVernay insists on bringing other striving independent female directors along with her. In the first season of Queen Sugar, which DuVernay created for television, all 13 episodes were directed by women, many of whom had never before been given such an opportunity. They were artists like her&mdash;women, she says, who often work outside the predictable mainstream movies you see at the Cineplex. She wants to make sure that their art, as well as hers, is seen. That&rsquo;s why she founded Array, an independent distribution company that finds a home for little known movies by women and people of color.&ldquo;She said, &lsquo;I&rsquo;m going to use my gravitas to pull other women forward and help them advance their careers,&rsquo;&rdquo; says Dash. &ldquo;She has an agenda, and it&rsquo;s not selfish. She&rsquo;s a powerful role model who is redefining how we do this.&rdquo;But doing this requires long days and nights, and lately (thanks to Winfrey&rsquo;s influence) DuVernay has begun to wonder if her life might need more balance.&ldquo;I&rsquo;m not great at self-care,&rdquo; she admits. Last August, for example, Winfrey gave her a birthday gift of unlimited massages for a year. &ldquo;Which I&rsquo;ve not used yet,&rdquo; DuVernay adds sheepishly.&ldquo;She reminds me of myself in the throes of the daily show,&rdquo; says Winfrey. &ldquo;So many things going on&hellip;. I know what it&rsquo;s like to ride that wave. I know what it&rsquo;s like to be in the vortex of the very center of your creativity and to be able to express that to the world. And it makes me so proud to witness it.&rdquo; But what&rsquo;s also true, says Winfrey, is that &ldquo;the number one thing you have to do is protect the vessel: physically, emotionally, spiritually. Protect the vessel. Because when that breaks down, everything else breaks down.&rdquo;DuVernay&rsquo;s schedule also leaves little time for a significant other. (&ldquo;We&rsquo;ll see about that,&rdquo; says Oyelowo, laughing. &ldquo;I&rsquo;m still on the hunt for her Nigerian prince.&rdquo;)But from DuVernay&rsquo;s perspective, romantic relationships take time that she doesn&rsquo;t have. They require &ldquo;coming in the door and focusing on someone else. I come in the door [in her case, it&rsquo;s the entrance to a tiny tree house in Hollywood&rsquo;s Beachwood Canyon] and there have been days where I just take a blanket off the couch and, in my clothes that I worked in, go to bed. I&rsquo;m so bone-tired,&rdquo; she says.DuVernay wraps up the conversation in a car headed to CNN studios, where she&rsquo;s scheduled to do a Facebook Live chat. Her plan: &ldquo;I want to do what I want to do for as long as I want to do it. I don&rsquo;t have children. These films are my children. So this is what I will leave. I&rsquo;m going to give them all the love and nurturing I can and send them out into the world to do what they&rsquo;re gonna do.&rdquo;&nbsp;

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