A lot of work was done with one of my best friends and editor, Spencer Averick, who's edited everything I've ever made from the very, very first documentaries; the very, very first films I made were docs, so we learned the form together.

Because my mom always told me that I could. From a very early age, I felt comfortable leading.

All the traditional models for doing things are collapsing; from music to publishing to film, and it's a wide open door for people who are creative to do what they need to do without having institutions block their art.

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.

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.

The documentaries were something that I could do for a small amount of money, and then I felt like as long as I found the truth in the stories I was telling as a doc, I could teach myself filmmaking through doc filmmaking.

I think there are a lot of people in this industry that have the ability, that have the position, they have the opportunity, they have the privilege to call the shots and could do it too.