"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.

Most directors do work in pairs. There's usually some form of this, sometimes it literally comes down to you both show up in the morning and one of you is like, "I'm a little tired and overwhelmed today, so I might need you to just be a little step ahead of me and speak with more confidence because I'm not quite there." So, there's quite a bit of that in other teams.

As an actor, when you walk into a room to audition, you get five minutes with a casting director, who doesn't even look at you, most of the time.

I know, we can barely fit them in. That is a big challenge. Treating four lead characters equally, within a 30-minute format, is definitely challenging.

My favorite thing to do is put my headphones on and cruise around the old neighborhoods.

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.

I'm fortunate enough to act in a TV show that makes me a lot of money so I can pay for my own movies. I don't have to wait for anybody and that's more of what I like doing. But I still think that you don't have to be connected in the industry to make your movie. You just have to write something that is meant to be made cheaply.