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.

Netflix represents, as well as all the streaming services, something that I've been talking about being so important to inclusive voices around films.

The terrain of the face is the most dynamic thing you can point the camera at, to me. I love production design and bells and whistles and all of that. I love a technograin as much as the next gal, but a great actor's face? What else should we be looking at?

There’s something very important about films about black women and girls being made by black women. It’s a different perspective. It is a reflection as opposed to an interpretation, and I think we get a lot of interpretations about the lives of women that are not coming from women.

Stop asking, start doing.

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.

When I'm marketing a film, whether its mine or someone else's, I work with a great deal of strategy and elbow grease until the job is done.