And, there are negatives and positives to it. Like, you know, just like a marriage, where you're like, "Well, this... you know, is the sex still as exciting as it was two years ago?"

We get to get into the nitty-gritty and the minutiae of the way they relate now, and that's really valuable. We just have to make sure we don't repeat ourselves and we plot this thing so it doesn't dead end too much, and so that's the challenge really. It's like, how do you keep those balls in the air and make it exciting still?

Just being able to make exactly what I want with my brother and a lot of my best friend and to have a place like HBO that not only lets you do that, but supports you and puts up billboards in support of it, and really puts it out there for you. That's not something I get a lot in the independent film world where everybody's pinching pennies and nervous about whether it's going to make money or not.

A lot of solo directors have a really strong creative producer with them. Jay and I have less of a need for that because we have each other.

Obviously we know Bill Hader is funny and charming, but my question is, can he do raw humanity and naturalism? I think so.

We've shot with babies and kids and it was tough. It's not easy. It looks tangential, but it is not.

"Repulsion" for me was a really big movie where I was like, "OK, technically there's nothing scary going on here but I'm kind of terrified." Something so tiny was devolving this whole world. I guess I've always been obsessed with what I call the "epically small" in cinema, and that's how one tiny, little weird thing can just explode everything.