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.

I feel like it had an impact, in that it started the attention that has been paid to what was happening. It started to get us into this whole conversation about prison reform, the whole bipartisan dialogue that's been happening over the past five, six years about this, where you have a Van Jones and a Newt Gingrich, and you have the Rick Perrys and so forth getting up and talking about the need to reform.

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. It's pretty simple really. I just dive in and start digging. Yes, I'm fortunate to know the in's and out's of a true studio-level marketing campaign. But really, anyone who is diligent and well-researched can pull it off too. Its easier for me, but it doesn't make it impossible for others.

I'm not the most athletic gal, but because making a movie is very physical, I slow down on the Krispy Kreme and Ice Blendeds. I start to get leaner and more focused - like I'm going into a boxing match - because I'm about to really try to put this idea on its feet.

Folks can look at this issue and read it and it can feel like medicine, it can feel epidemic. We wanted this to hit people in their gut, and the hope is that by doing that, we can get more people to think more deeply about these issues.

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.

Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through.