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.

The idea that we criminalize fellow human beings based on optics, based on the need to progress in politics and gain power, and for economic reasons and financial reasons, for financial gains, and we throw out humanization for criminalization.

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 know when we were making the film [ Age Of Trump] that we knew that there was going to be some kind of radical change coming on the horizon. That's why it was important for us to get it out before the election.

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.

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.

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.