I love directing because you get to see your film come to life. You get to work with the actors. There's something magical about each piece of it.

The only advice I can give those who want to sell thei films is to surround yourself with people who are friends and people who believe in you and your material and who are going to help you take it to the next level. It doesn't mean you don't listen to criticism but you listen to it and edit it and you figure out what you can take.

I love directing because you get to see your film come to life. You get to work with the actors. There's something magical about each piece of it.

Ultimately, the people [who] are going to help you make your film are the people who believe in you and believe in the story. And as long as you stick to your guns, hopefully what you come out with will be what you imagined.

Writing is really freeing because it's the only part of the process where it's just you and the characters and you are by yourself in a room and you can just hash it out. There are no limitations.

In New York there's a lot of interstitial spaces; spaces in between spaces, where you're changing, and New York gives you the anonymity to be who you want to be.

I look at Woody Allen's prolific career of 30 or 40 films, and I'm watching the clock. I'd love to work at a clip of a film a year. We don't get the benefit of the doubt, particularly black women. We're presumed incompetent, whereas a white male is assumed competent until proven otherwise. They just think the guy in the ball hat and the T-shirt over the thermal has got it, whether he's got it or not. For buzzy first films by a white male, the trajectory is a 90-degree angle. For us, it's a 30-degree angle.