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.

Everyone is having this experience right now, where your friend comes over and says, "Have you seen this?" And you're like, "No! Get off my back!" I can't watch everything, it's impossible. We have young kids, and we stay home on Friday nights, sometimes, you only have 23 minutes to watch something. This is that thing.

"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.

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'll do any kind of movie, as long as it's a good version of it.

We always joke now like, you know, the more experienced we get making stuff, we're like, "Never leave set without a shot of each of our lead characters driving in the car looking happy, looking moderately blank and looking sad." Because we know we're going to need these things.

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.