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.

I'm a prison abolitionist because the prison system as it is set up is just not working. It's horrible.

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."

We've had these bursts of cool years here or there but that's not change. That's a trend. You only hope that this could be the beginning of true change.

Is there deeply embedded change within our industry? And I would say, as a black filmmaker, it's easy for me to focus my attention on black work, but true change would include brown work, and it would include work by Asian-Americans, and it would include natives, and it would include women, and it would include more LGBTQ voices.

I think there are pieces of the film [Age Of Trump] that are even more emotionally resonant and more vital to talk about than ever.

I just don't think there's a lot of support for the woman's voice in cinema, and it becomes really difficult to raise that money and start again every time.