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 initially started making videos about my hair because I was struggling to style it and didn't know where to find help. Similarly, I started creating comedy content and doing characters and talking about things that were important to me because I didn't find a place to do that in the career that I wanted as an actress.

Generally, as a composer, it's perceived as an employer-employee relationship.

In the India I was growing up in, history wasn't really a wise career option. People would joke and say, 'History's okay, but what's your actual job?' I didn't come from a privileged background and couldn't afford to be irresponsible, so I did the pragmatic thing and did a MBA.

Although I have been doing plays since I was 8 years old, it was only when I started doing Shakespeare at age 19 at the Georgia Shakespeare Festival that I felt like my career started.