(zestful music) - When I was younger and in college working on some of the film sets, there was just a lot of like militant hierarchy and like sexist BS.

(laughs) And so being able to make films on my own, and at the time in college, like in my bedroom, being able to kind of imagine and create my own worlds and work from a space of comfort and experimentation and play and joy was something that I really loved about more experimental modes of working.

There's a lot of incredible folks who have been fighting and struggling to make film sets more, you know, inclusive kind of spaces.

You know, the work continues, and there's a lot of work to be done.

But, yeah, there was just something for me, almost like cathartic and meditative and joyful about working in these experimental animation modes and ways.

It can be kind of radically accessible, like concretely to many different kinds of folks with many different kinds of backgrounds and knowledge bases of filmmaking.