As long as you're in an environment where the worth of the project isn't based on the project but what its predecessors did, it's not truly inclusive.

Usually, you have two people in a scene, and in the history of cinema the hero is most likely going to be the white guy. And the other guy is his friend who is carrying the bag or whatever, and you're not going to light for that guy.

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.

I feel like it had an impact, in that it started the attention that has been paid to what was happening. It started to get us into this whole conversation about prison reform, the whole bipartisan dialogue that's been happening over the past five, six years about this, where you have a Van Jones and a Newt Gingrich, and you have the Rick Perrys and so forth getting up and talking about the need to reform.

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.

I think when we get to a place that this is not the story, that everyone's story is a part of the story, then we can say this has changed. Until then, these are steps to change if they're consistent.

As long as you're in an environment where the worth of the project isn't based on the project but what its predecessors did, it's not truly inclusive.