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.

It sounds so early - retiring at 28. But I don't feel it's that early for me. If you're blessed enough and you're gifted and you're lucky enough, and you've got a fortunate career, then you can take that step back. I'm just happy that I did it.

For me, it's my work - I have a job, and that job happens to be with insanely talented actors. At this stage, it's normal to me. But when I meet new people, I realise, 'Oh, yeah, it's actually really strange. I have a very unique hobby.'

The labels are in a jam. For a company to do well in music now, it's got to be in all aspects of the business. And Live Nation is the risk-taker. It's leading the charge.

If I have to return to Brazil, I'd like to play at Corinthians again. It represents a lot, I was born and raised there, my footballing career began there when I was nine, I've spent my entire childhood there.