Making movies that are really cheap and that can be owned and that you maintain your control of is really exciting.

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.

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 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.

You know, I watched the original 'Same Time, Next Year' on DVD about ten times this year, and I cried all ten times.

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.