Well, I'll be honest with you, sometimes you don't know you're playing a moment that's going to be in a montage. Sometimes it's a scene that didn't work out the way you hoped it would be and ends up in a montage.

When you're writing a 25-minute episode that can be anything, sometimes you just start with a character, and you let them walk into the room. Then you let your instinct guide you. That's how we made art when we were 15 years old. And that's so fun to us.

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]."

If we have anything to offer, as filmmakers and as TV makers now, it's this ability to feel as close to a documentary as you can get in a narrative form.

Somewhere in Time is in the top-five cheesiest movies ever made. Its super melodrama.

My favorite thing to do is put my headphones on and cruise around the old neighborhoods.

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?