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.

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.

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.

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.

[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.

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.