I just remember not having access to films as a young person who loved films but living in Compton. In order to see the film, I had to get on the bus and travel quite a ways to get to an arthouse theater - none of which you're gonna find in black and brown communities - to see anything that was outside of what the studios fed me, and that's not the case anymore.

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

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.

[ Age Of Trump] was something that I really wanted to do, and I also really wanted it to feel evergreen, so we made a lot of attempts not to bog it down in the campaign fight, even though we were right in the middle of that. I wanted it to be something that could live on and be a conversation piece long after this inauguration, whoever it was going to be.

Some black filmmakers will say, "I don't want to be considered a black filmmaker, I'm a filmmaker." I don't think that. I'm a black woman filmmaker.

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.

We've had these bursts of cool years here or there but that's not change. That's a trend. You only hope that this could be the beginning of true change.