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.

Whenever I spoke with anybody who said they did not have a problem in the military it was because their commander treated them well. Every single time it was about the commander as to whether they had a good or bad experience.

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.

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.

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.

One of the top challenges is the fact that you are dealing with survivors. Every time you deal with a documentary film subject it is fraught with obvious minefields but when you are dealing with a population that is severely traumatized and trying to recover from that trauma there is an extra level of vigilance and care and attention that has to be implemented all the time at every level.