The first female DPs that I was aware of were Ellen Kuras, Mandy Walker, Nancy Schreiber, Amy Vincent, Sandi Sissel, Maryse Alberti and Tami Reiker. You look for a role model as somebody who looks like yourself and is doing what you want to do; they were the handful.

The big trick is just to get to a point where we're just considered DPs, and we're not 'female DPs.' When you think of the word 'doctor' or 'teacher,' you don't think gender. And it would be nice to get to a place where 'DP' meant either and 'director' meant either and 'gaffer' meant either.

When I was studying photography, I became interested in conflict photojournalism, and that got me interested in lighting. Then I realized there was this amazing thing called cinematography where you could kind of tell more complete stories photographing for film. So I ended up going to AFI grad school for that.

We shot 'Mudbound' in the South in the summer, which meant we were working in extreme heat and humidity at all times and that it could go from glaring sun to overcast skies to pouring rain in a matter of minutes, often shifting multiple times a day.

I just spent five, six years sacrificing so much to try and fit into that one ideal, that one small standard, and I was never good enough. And it was just frustration that turned into motivation... That became my ammunition, all the people that told me I couldn't.

Regrettably, people today don't watch many programs that actually teach people how to cook, so I agreed to do a competitive show that I think will provide inspiration.

I always turn to Wendell Berry for inspiration on food, community, agriculture, and, well, just being a human.

I don't believe in inspiration at all. We live in a world that demands explanation. And fiction has the capability to offer explanations for things.