Plus, doing a zombie movie is quite liberating. It's fun not to take myself seriously all the time.

In fact, there's an entire universe out there that's pretty much indifferent to struggles that big, no matter how serious they've been in your life.

I feel like I've always had two selves - the part of me that makes films and the part of me that's political, and they haven't really connected that much. Alias Grace talks about things like class and immigration and women's rights, which felt really good. But especially now, there are pressing things to be said. It's a really scary time in the world. It's a very scary thing to have an American president who openly brags about assaulting women and is openly racist. This isn't a moment to be speaking in metaphors.

I always look for an intense experience, an intense ride. There is nothing better than a good zombie movie where you run crazy and blow at monsters! It was a physical shoot and I enjoyed it.

We're still at a point where women [directors] aren't allowed to be mad visionaries. We have to prove beyond a shadow of a doubt that we're responsible, that we can handle it, that we've got all our ducks in a row . . . most women who direct always come in on budget, always come in on schedule, and if they were wild and irresponsible it would not be put down to brilliance, but to a general flakiness.

AIDS is a global problem and there should be a global solution found by the entire international community. It is really scary to see and imagine our world fall into pieces because we refuse to share and put in the common vestiges of our civilizations.

I just feel like it's so amazing every few years when I'm not making a film to act and basically go back to film school and just watch other filmmakers work and try to be a part of somebody else's vision. So I feel like you do use two very different parts of your brain, and it's great to be able to jump back and forth.