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I have not done it, and it was fascinating to be part of a creative project of this scope and ambition. Mari is committed to filming as a means, an art form, so she made Fret in a real photochemical film, not digitally, although that would have been, with a lot, the easiest solution. They were shooting in Amharic, in their location in the Field of Ethiopian, and they had to send daily reeds from the film to India for processing. These facilities simply do not exist in Ethiopia, this, together with the innumerable obstacles and the political realities of making a film in Ethiopia. It was a privilege to be part of this in some way, to witness them. They are among the new African modernists, and I have inspired me an inspiration.

What was it about this story that made you want to commit?

To begin with, Di Fret is a story of Ethiopia, from where I am, but much more, establishes an example of how even the most rooted cultural traditions can be transformed from within. It is essentially a story of Ethiopian Heroism of Harvest of its own two women who challenge the long-standing practice of the child's forced marriage. It is an important story and an example, a model in a sense, of courage and the willingness to make the change. Even though this tradition of telefax (abduction for marriage) is constitutionally illegal, it is still being practiced by 50 percent of the country today. It is a human rights crisis that needs global support and defense. I understood that the challenges of making a film as Di Fret are immense. There are endless barriers to get stories like this in the world-intimate stories of African women and girls. It makes it more important to support independent African filmmakers such as Mari, who are saying stories from their own perspective within their countries of origin. They committed me to help this movie happen somehow I could.

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What changes have occurred due to the film, and where?

Di FRET brilliantly captures one of the most profound and epic achievements in the struggle for the human rights of women and girls in Africa, and as a result, it has drawn attention to the issue of child marriage and violent conditions under which it happens . The State Department began addressing the subject in 2013, but the release of a teenage strategy has stagnated. The request connected to Di FRET has accelerated the release of this strategy thanks to the more than 144,000 signatories we meet.

How did Angelina Jolie Pitt became part of this movie, and what she is doing?

After the film ended and Mari began to send him to the festivals, I thought, this film really needs his own ambassador in the world. Angelina Jolie came to mind, because history could have easily been the story of her daughter from Ethiopia. It could be the story of any girl in Ethiopia. We send the movie and she was immediate in her's response.