I write to music, so every script I have has its own playlist. Music just opens me up to the emotions that I'm writing.

Be passionate about your [movie] material, because you're going to have to overcome a lot of "No's," and it's that passion that fuels the fight.

I write to music, and Nina Simone is always on my playlist to write to. I mean, shes inspiring. She's truthful and real and raw.

We have two boys. After George Zimmerman was found not guilty of killing Trayvon Martin, we had to explain to our older son, who was 12 at the time, how that could happen. Instead of hugging and consoling him, my husband pulled out a documentary about Emmett Till and showed it to him and started to talk about how the justice system works in this country - and how it often doesn't. From that conversation, our son wrote a short story about Trayvon Martin going to heaven to meet Emmett Till.

A classic is a classic for a reason. Let's try to create new classics. The idea of repeating ourselves drives me a little crazy.

I want my work to always be hopeful, in the end. You're giving me two hours, and, in Shots Fired's case, 10 hours of your life. I don't want you to ever leave something I've done feeling worse than when you came in. I hope the work can be aspirational, and aspirational doesn't have to be corny at all.

My parents are amazing. When I said I wanted to go into film, they didn't understand it, but they were incredibly supportive. But growing up, I absolutely did have that feeling of, "Wow, somebody just gave me up." That was infused in The Secret Life of Bees too - the protagonist wanting unconditional love from her dead but much-imagined mother.