We're just gonna keep making things and challenging ourselves to make them more cheaply and more renegade and more interesting. That's the only thing we might challenge ourselves to do in the age of so many movies and so many TV shows. We're aware that we're asking time of people to watch stuff, and that there's so much stuff to watch, so we're gonna try to offer you something unique. And it may not always succeed, but it will definitely be different.

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?"

"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.

It's kinda crazy to say, but the way Jay [Duplass] and I stay afloat, because we don't make particularly commercial fare that makes a lot of money, is that we make things cheaply and we make things small. We would kind of be afraid to go make a $100 million movie because you have to do certain things to it to have it make its money back.

I question every move. I'm constantly second-guessing myself.

You know, I watched the original 'Same Time, Next Year' on DVD about ten times this year, and I cried all ten times.

When the initial little impulse comes it just tends to come. I wake up in the middle of the night, or I'll be swimming in the pool with my kids and just think, "Can't forget that one." Then there's the more organized side of the brain, which is when I choose to work on them. I've learned through a bunch of mentors how to demarcate the different times for your writing process. I keep multiple projects going at once and there's a time when no matter what you're doing, you have to stop and write it because it's coming.