I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.

When I was in film school at USC, I wrote my thesis script about a woman on Wall Street - specifically a woman who used to work at Morgan Stanley, sort of based on her life. Through that process, I did some research.

I always knew I wanted to make films, but just didn't quite know how to start. I was making little short films with my friends but I wasn't quite sure how to put those pieces together for myself.

It is my sense of exclusion from representation that made me want to be a part of figuring out if we could make a difference.

I think it was the same thing that really makes the premise of this film [Women of Wall Street] compelling: the idea of a woman negotiating issues around power and money, which are two things that have historically been denied to women. To see a woman operate successfully, but still find those barriers a result of that historical and systemic bias in her pursuit to the top, is a really interesting struggle.

Through this experience [of makimg movies], I recognized what an extraordinary set of personality traits it takes to be able to succeed in that world, and I was really drawn to the character work we could build with actors as a result.

Find other women to make movies with that have a shared bottom line. I did that with my first film and found an incredible partner in the inimitable writer/producer Laura Goode. I did it this time around by pairing with the forces of nature that are Amy Fox, Alysia Reiner and Sarah Megan Thomas. All of these women share an activist's desire to be the change they want to see - and with that passion comes great purpose and great possibility.