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

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.

A lot of it is found in the editing room and part of that is due to some of the improvisational tactics we employ on set. Part of it is that the shot goes a little bit long and they end up coming down to fit time.

I mean, it really has a lot to do with who is actually physically doing a lot of talking. And we've just noticed that as we've evolved we're still making all the decisions from this, like, "cave."

Most directors do work in pairs. There's usually some form of this, sometimes it literally comes down to you both show up in the morning and one of you is like, "I'm a little tired and overwhelmed today, so I might need you to just be a little step ahead of me and speak with more confidence because I'm not quite there." So, there's quite a bit of that in other teams.

"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.

My wife and I are like twins and that is a great and a terrible thing for a marriage. It makes for the most comfortable thing in the world to be truly known and loved, but also makes for a lot of conflict and that's how we roll in my house.