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.

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.

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.

If you have the ability to do something, you should do it.

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.

By the end of the documentary [ '13th'], you really understand what prison is, what the prison industrial complex is, where this whole Black Lives Matter movement comes from, the history of resistance, the history of how politicians have used criminality over the decades for a particular political gain. It's to give people an understanding of it so they can make their own decisions about how they want to be in the world.

I think it's a wonderful time to be a black woman who makes films. It's a good time to be an artist period. Traditional models of making and consuming art are breaking down and being rebuilt. I find that to be incredibly exciting as a filmmaker and film marketer.