The sad thing about working on a movie is that you can never see the movie.

I can never watch anything I've been involved in, because I know it, and I know what the making of it was like, and I know what's been cut out and changed. I just know it.

Yeah, once we decided to use that replacement animation, and the seams are a function of that animation, and other movies paint those out, we decided we wanted to keep the presence of the animation and the type of animation that it was rather than make it look polished. It created a kind of vulnerability, I think.

I think if something resonates, even if it's surreal, it's because it is relatable and I think that that's a core issue for me.

Scary is time passing and sickness and dying and regret and isolation and loneliness and relationship problems - as opposed to a guy in a hockey mask, which didn't seem that scary.

The way I write is very much without kind of a goal. I have something I'm interested in and then I decide I'm going to explore it. I don't know where the characters are going to go, I don't know what the movie is going to do or what the screenplay is going to do. For me, that's the way to keep it alive.

I was trying to figure out what a memory feels like.