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.

My parents [are my hero]. They've helped me be who I am.

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.

All these women had directed movies that I loved on the film festival circuit, but couldn't get a job making television. That's how locked down TV is.

We're a new world and it's not pretty. It's going to be for the brave to figure out how to survive in this.

What we tried to do in 13th was get to the bottom of that. What were they motivated by? But certainly the attention that the Attorney General's office paid to it allowed for there to be some dialogue across the aisle that I think were the first steps then in change.

In addition to that, we have a woman post-production supervisor, a woman colorist, a woman first AD, a woman production supervisor... I think it's really sad when I hear so many shows are content to stay in a mono-cultural realm, not realizing how they are subtracting from their own greatness by not inviting women and people of color into the space - that seasoning that makes the recipe even more great. It was absolutely imperative for me. It's how I run all my crews.