I was adopted by a Salvadorian mother and a white father. Growing up having complete identity crisis. Then my search for my mother and trying to find out why I was given up, and how could a mother give up a child, then finding out the circumstances of my birth was pretty traumatizing.

Beyond the Lights' was my fourth film. I gained a lot of knowledge, and I'm excited to share that with young filmmakers because I know how lost I was coming out of film school with that question of 'What's next?'

There's a great deal of women in film school. I was not the only woman in my class at UCLA. When I went through the Sundance program, it was half women and half men.

There is a blueprint that young female singers seem to follow to make it, to make some noise when they first come out. And it's a hyper-sexualized persona. And the thing is that it works. And they do make noise. But the problem is if it's not authentic to you, then you're trapped in that persona. And you have to live that persona 24/7.

Some of my educated Filipino friends were aspiring poets, but their aspirations were all in the direction of the United States. They had no desire to learn from the bardic tradition that continued in the barrios. Their ideal would have been to write something that would get them to Iowa, where they would study creative writing.

I went to school to learn guitar, solfeggio, and harmony. I wanted to know more about music, how it works. I wanted to take voice lessons, too, and that's when I discovered what I could do with my voice. At the beginning, I thought I would do classical and pop, but then I learned that I really liked the classical music.

It started 25 years ago, when I was teaching elementary school in a small town in Missouri.

Many of you have been reared on the cliche that the purpose of education isn't to stuff your head with facts but to teach you how to think. Wrong.