I think what's exciting about doing it as found footage - if we all are being honest, found footage gets a little bit of a bad rap sometimes, but I think that there's a lot of potential in the medium in taking it seriously and in treating the audience with respect and in treating the characters with respect in terms of, why is the camera really on? Where would the camera be when it is on?

I always thought that the movie had to be really raw, very edgy, that everything had to be super grounded and feel very real. If this was going to be a story about kids discovering time travel and building a time machine that we needed to believe that they really did it .

I think what's exciting about doing it as found footage - if we all are being honest, found footage gets a little bit of a bad rap sometimes, but I think that there's a lot of potential in the medium in taking it seriously and in treating the audience with respect and in treating the characters with respect in terms of, why is the camera really on? Where would the camera be when it is on?

I'm a big believer in rehearsal and a big believer in the actors being able to find the material themselves and identify with the beats themselves without us having to stick to the actual language of the script, just for them to understand what each scene is about.

I guess the hard part is more in the development stage when we're writing it. The logic is hard. You come up with a great idea and you get all excited that it's going to work and then you go down two hours and then one guy turns to everyone and goes, 'Wait, that makes absolutely no sense because if he was there, then this wouldn't have happened, then this,' and it completely implodes.