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.

We've shot with babies and kids and it was tough. It's not easy. It looks tangential, but it is not.

Going to the theater, spending tons of money, people are losing money doing that. I'm really interested in my kinds of movies being seen as many people as possible on a TV.

My wife and I have been together for many years and that, to me, is like endlessly fascinating and endlessly confusing how to sustain all of the excitement from the front of our relationship, valuing that versus the comfort and knowing that she knows all of my flaws and still loves me. It's great, but certainly not as exciting as it was day one.

"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.

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.

When the initial little impulse comes it just tends to come. I wake up in the middle of the night, or I'll be swimming in the pool with my kids and just think, "Can't forget that one." Then there's the more organized side of the brain, which is when I choose to work on them. I've learned through a bunch of mentors how to demarcate the different times for your writing process. I keep multiple projects going at once and there's a time when no matter what you're doing, you have to stop and write it because it's coming.