You always try and make a film that is a letter that will be read and we are so glad that it is being read by the right people in the right place and is inspiring change. It is also gratifying that the survivors are finding it healing and transformative. That's been really great.

We really want to send the message that commanders need to understand and be accountable. We saw that with the Catholic Church. No one cared when they went after the priests, but when they focused on the bishops then things began to change. And we see that analogy working with the military.

Be very focused. Do your homework so your research and claims are unassailable. Make sure it is bulletproof and then make sure you are really focused. The thing I find is that the issues are usually so large that you try to cover a lot of ground. That's a natural impulse.

When I talk with women who have had wonderful experiences in the military it's because their commanders treated them with respect and dignity and gave them equality with their peers that was unparalleled in their lives.

[Working with survivors] it's just a whole different level of concern and that is something that was categorically different working on this film than any other project we had done.

Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.

Things can change if the military can do a paradigm shift and gets out of the shame and coverup cycle and be a leader in our culture. In the 50s, 60s and 70s there were huge race problems in the military even more severe than the culture at large. The military saw it was detrimental and it changed and became a model to society at large.