I soon found I could not talk about that in a vacuum without understanding the historical, cultural, political context, and giving it some legacy and some roots, and so then it just started to have tentacles that just spread out in all these places, and already a vicious project became pretty overwhelming in scope, and so it was a lot of diligent, day-to-day fighting with the footage, trying to get it down to a place where it was manageable and emotional.

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.

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.

All the films I do, I write the scripts, I direct.

In documentaries, there's a truth that unfolds unnaturally, and you get to chronicle it. In narratives, you have to create the situations so that the truth will come out.

If you're doing something outside of dominant culture there's not an easy place for you. You will have to do it yourself.

I'm not the most athletic gal, but because making a movie is very physical, I slow down on the Krispy Kreme and Ice Blendeds. I start to get leaner and more focused - like I'm going into a boxing match - because I'm about to really try to put this idea on its feet.