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.

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.

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.

The fact that we have people who have headed up oil corporations now assigned to places in cabinet.

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

I love making films. I'm happiest when I'm doing it. For me, the fear is not being able to make the next thing and not being able, as a woman filmmaker and as a filmmaker of color, to put together the resources to make another thing.

When I went out to shoot for the first time, I thought this was going to be about the prison industrial complex, purely about prison for profit and the ways in which there's an industry making money and profiting off punishment.