I'm a narrative-minded actor. I'm thinking of the story. I'm not worried about whether the camera is on the right side of my face, or where the camera is. I'm just going for the story.

"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.

No one can stop you from doing exactly what you want to do. If you can accept that the cavalry won't come, and if you can be the cavalry, it gives you a chance to be happy.

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.

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."

We allow the actors to do whatever they need to do or say to accomplish the goals that they want to accomplish.

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.