Jay [Duplass] and I normally just sit around and people watch, and we talk about things that are happening in our lives, or with people that we've met. That's the soup from which our movies usually come from.

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?

"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.

Making movies that are really cheap and that can be owned and that you maintain your control of is really exciting.

I have family, I work with a lot of friends, but you'll never find me saying, "Hey, let's get a drink at 8:30 [pm]."

When you're improvising, it's fun to find something that you can lean on that is similar to your life experience. In my opinion, that's very helpful.

If anybody normally has a 45 minute conference call about something, I'm 15 minutes late and then I'm out 15 minutes before everybody else, and I cut to the key information and I move on. I learned that from my dad and guys like Jason Blum, who know how to do that.