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.

"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 anybody normally has a 45 minute conference call about something, I'm 15 minutes late and then I'm out 15 minutes before everybody else, and I cut to the key information and I move on. I learned that from my dad and guys like Jason Blum, who know how to do that.

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.

I question every move. I'm constantly second-guessing myself.

We allow the actors to do whatever they need to do or say to accomplish the goals that they want to accomplish.

Obviously we know Bill Hader is funny and charming, but my question is, can he do raw humanity and naturalism? I think so.