[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.

Figure out the one solution - not three - that you want to see happen. There were quite a few things we could have gone after but we decided to focus on the commanders and that was a strategic decision because that, for us, would be the most vulnerable point and the most effective one that could immediately change.

Make sure it is not too diverse or spread out so people don't know where to go or what to do. So keep a sharp focus. It can be ambitious but should have a small agenda.

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.

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.

The difficulty is the levels of secrecy we had to maintain around the project at all different times. We had to keep it a secret while making it so we could move under the radar so we could get the stories. Before it came out we had to keep it on lock down to protect the safety and security of some people who appear in the film.

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.