Just being able to make exactly what I want with my brother and a lot of my best friend and to have a place like HBO that not only lets you do that, but supports you and puts up billboards in support of it, and really puts it out there for you. That's not something I get a lot in the independent film world where everybody's pinching pennies and nervous about whether it's going to make money or not.

We're just gonna keep making things and challenging ourselves to make them more cheaply and more renegade and more interesting. That's the only thing we might challenge ourselves to do in the age of so many movies and so many TV shows. We're aware that we're asking time of people to watch stuff, and that there's so much stuff to watch, so we're gonna try to offer you something unique. And it may not always succeed, but it will definitely be different.

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.

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

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.

"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.

I have family, I work with a lot of friends, but you'll never find me saying, "Hey, let's get a drink at 8:30 [pm]."