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?

We work in this cave, and we speak to each other sort of subconsciously and with like, weird cues and tangential brother speak, but it really comes down to if you are the person who is moving amongst the actors and talking to people more, the other one can have a little more time to really watch.

I have a Google alert for myself - it's pure vanity.

I know, we can barely fit them in. That is a big challenge. Treating four lead characters equally, within a 30-minute format, is definitely challenging.

I really believe in constantly trying to find and support new ways of watching independent art, because the old ways are not working as well.

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.

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.