We have to find new ways to work without permission, new ways to turn corners and go through doors that are closed off to us to create our own audiences and our own material independently.

For film, you know, the Tarantinos and Nolans of the world who are very focused on a certain kind of film aesthetic and a certain kind of presentation, to be honest, that comes from a place of privilege. It comes from a place of always having access to such, but when you ain't never - you can't see it because you can't even get to it.

These are dark times for a lot of people who believe differently than our incoming administration [of Donald Trump], but there's also joy there, and there's also something in unifying around the things that we do believe in.

I always go into a blocking rehearsal with an anchor, with a blocking plan. And sometimes they'll step into the room and they'll be in costume and you're like, "That sucks, that's not going to work. Let's think of something new."

All the traditional models for doing things are collapsing; from music to publishing to film, and it's a wide open door for people who are creative to do what they need to do without having institutions block their art.

Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through.

I didn't go to film school. I got my education on the set as a niche publicist in the film industry.