While I was able to pass as white as soon as I came to America, this was not really possible while I was growing up, as it was pretty obvious that I wasn't 'all German.' So my privilege was that in America, I could conveniently withhold one of my bloodlines and avoid racism and discrimination. That is not a privilege most people of color have.

I knew I needed to make a studio film - not for any financial reason, but because, as a filmmaker, and especially as a female filmmaker, you have to break through the glass ceiling.

In terms of writing and developing, TV is very open because TV needs stories. They need new pitches, and they need new ideas. They don't always take the risk for new ideas, but they are certainly open to it. They can't have enough people come in and pitch to them. It doesn't matter how they look or what gender they are.

There was a choice of being a director who's more familiar with the technicality of doing a movie, like learning about the camera and filters and setup, or being a director who can actually talk to actors. And I always wanted to be an actor's director.

We want the people, in their private lives, to be completely free, and in today's world, having access to information and the right of free dialogue and the right to think freely is the right of all peoples, including the people of Iran.

Guest Iin London' didn't work, but it got me more work; it helped me grow as an actor.

I thought I was going to be a bum the rest of my life.

I hadn't thought specifically about doing graphic novels until a couple of my friends got contracts for them. Then I started picturing how various of my stories or poems would work in an illustrated format and thinking how cool that would be.