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."

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

So the only problem that you have is actually switch things in the department, changing things, controlling things, putting it maybe under federal supervision, and if you fix the department, you'll fix the problems - with police corruption, with brutality, with evidence tampering, all those things.

That's really the big inspiration of this movie. It's really looking at a man who's really showing all the traits and all the characteristics of the classic patriarchal country, where he's of military power, he's the king of the hill at home, as well as in the streets. He has the liberty to live where he wants.

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.

I'm looking into a different actor's eyes every couple days, and I'm learning so much just to see the different processes people go through, and how their acting works for them.

The first view is "bad apple." Bad apple is excusable. It's sort of like, something went bad with this man. But the second option is police corruption, so it's a problem with the department.