In the 10 years that I've been a professional filmmaker, the film part of the film industry is really disappearing, right in front of our eyes.

A lot of the people I'm working with are not actors, or it's their first time in a movie. I'm not trying to shape performances, coax performances out of them. It's more like I want to put them in situations that naturally work or allow them to be themselves. If it's not happening, I'll just completely switch it up, rather than trying to make it work.

I do like the idea of doing something different, maybe doing something that's more like a genre film. And there are certain actors that I'd like to work with that would go along with working with a bigger budget.

I'm usually two projects ahead. It's hard for me because I don't have a really long attention span.

I think I'll try to keep working in film for a little bit. There's something still kind of magical about it, that I don't want to let go of.

There are different levels of scripting that we all use; I think I'm the most improvised of the three, and probably Andrew's the most written. But all of that is in pursuit of similar things, and I think that we kind of recognize that in each other.

[Having bigger budget] allowed me to be a full-time filmmaker for a couple months and not have to have a day job and be balancing a bunch of other stuff. It allowed me to bring in all these people from different parts of the country. It allows me to have an actual food budget, where we could eat healthy for the month we were shooting. It makes all the difference in the world.