I've been to Sundance eight times as a publicist and thought I was very prepared. I mean, who could've been more prepared for me? A publicist who's been there eight times. Getting there as a filmmaker was a completely surreal, different, unexpected experience.

It's very nourishing and collaborative - kind of the true essence of what one would want an artistic collaboration to be [the collaboration with Oprah Winfrey].

There's no reason not to employ, seek out and take a chance on a woman filmmaker that you might not have been looking at her direction. She's not done it before because you've not given her the opportunity to do it before, and I'm just happy that folks like Jessica Jones' Melissa Rosenberg and folks like Ryan Murphy are also embracing this idea.

To pretend like Hollywood is anything other than that is disingenuous. #OscarsSoWhite is trendy, but for women filmmakers and filmmakers of color, it's not a trend. This is our reality, and it's important that we do something to change it.

More people have seen 13th on Netflix than have seen all my films put together between the Sundance winners and Selma, and the whole international distribution of film.

The terrain of the face is the most dynamic thing you can point the camera at, to me. I love production design and bells and whistles and all of that. I love a technograin as much as the next gal, but a great actor's face? What else should we be looking at?

I didn't start out thinking that I could ever make films. I started out being a film lover, loving films, and wanting to have a job that put me close to them and close to filmmakers and close to film sets.