It's impossible to change the social without changing the personal - you have to put your money where your mouth is. And if you're not making those challenges at home, it's unlikely you'll make them in a larger setting.

The ideas I'm working with are ideas I'm committed to. I don't know how to soft-shoe them. I don't know how to make them more palpable. I just never knew how to be one of those girls. I wish I knew how to be that sometimes, but I don't know how to be that way.

I don't like directing a lot of people. So trying to keep things really simple and elegant is my preferred way of working.

I emerged in that incredible moment in the 1980s when all kinds of social questions about subjectivity and objectivity, about who was making, who was looking.

I come from a family of Mississippi sharecroppers just a few generations away from slavery, and I experienced a lot of racism growing up - you can't avoid that if you're a person of color in this country.

My father was very interested in music, and when he and his brothers were young, they had a singing group that used to open for Sam Cooke. There was always music in our house, but there wasn't much art around.