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.

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 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.

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.

Once your film is done, you can't explain to people what something was supposed to be. You can't give them footnotes. It all has to be there.

I've always liked to write, but I never thought I could make a career out of it. I went to business school because in the '80, it was the thing to do. I thought that marketing was a way to be creative in business, but quickly learned all creative stuff happens at the ad agency.