If you look at it that way, then you start thinking about the basic things, which are jobs not jails, and education not incarceration.

First of all, we occupied Afghanistan and Iraq and I'm not even talking about the past occupation of them, I'm just talking about currently. And we all know that occupations, in military terms, comes down basically to policing, so you have an army basically functioning as a police force in these foreign territories as part of foreign policy. I'm not knocking that down, I'm just observing.

I think the most emotional part in making the movie and discovering the movie - because it was a process of discovering - is all the scenes with the family.

Another option, which I think is the thing that makes more sense, is this fact that the police are a reflection of the occupation of certain neighborhoods and certain parts of cities that are designed, basically, to keep the bottom down and basically maintain the status quo, but out of sight, so that the other side - the people in power, the people with money, the people with comfort, the people that are living in the "safer" areas - are sure that they can sleep safely in their bed while bad thing are happening to people and it's not their problem.

I think that's an incredibly overwhelming reality that is really at the basis of how we're going to deal with this. Looking at the film, people will say, "Oh yeah, you're criticizing the police." I say, "No."

I mean, you always hope to have a part on every level, on every layer. For us it was very much a conversation about power and sexuality and brutality. And really all the issues that are in that world, in that space, come down to one word, which is "masculinity.

It's not a big secret that what's lacking and what's wrong in our society starts with education.