MARK DUPLASS

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

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

'Somewhere in Time' is in the top-five cheesiest movies ever made. It's super melodrama.

They're each on separate coasts but I think that the deep Maine woods shares some similarities to the Pacific Northwest.

When you're improvising, it's fun to find something that you can lean on that is similar to your life experience. In my opinion, that's very helpful.

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

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

If you're locked to the words on the script, as good as those scripted words are, if you didn't have the time to rehearse them correctly or if the perceived dynamic between the actors is different from what the writer imagined, and you're not allowed to stray from that, you're going to have a stilted scene.

I'm interested to see what happens to Spike Lee with limited resources, you know? I love Spike Lee's movies. But you know what? I kinda liked his movies when he used to scramble and fight more for them.

We built a business for ourselves just out of hard work, and I think people really want to hear from us about that.

When you make a black-and-white movie with two people in it in 2016, you're taking a swing at something.

I think 'Cyrus' has a lot of fat in it. It was a $7 million movie. If you're going to make a movie with famous people, you don't necessarily need to spend 7 million dollars. Make it for less than that, and you'll be able to sell it and make a ton more than that, and everybody shares the profits.

At the risk of saying you should make a self-indulgent film for your first movie: you should make a self-indulgent film for your first movie.

I played acoustic guitar so intensely, for so long - for nine hours a day as a 10-year-old, writing songs through the night, on tour constantly from when I was 19 - that I destroyed my arms and shoulders in the process.

In particular, what I loved about 'Creep' and 'The One I Love' was the combination of naturalism, horror, and comedy that felt kind of new and fun.

As the death of the middle class of film has happened, it has been re-birthed in television.

I never thought about branding when we were starting our production company.

The only thing darker than 'Overboard' is 'Micki & Maude,' the bigamy comedy from 1984.

The realm of making microbudget stuff will always be totally in our control. Most of the time, we just pay for those out of pocket. Then there is stuff that's too expensive for us to pay for, and we want partners on, like 'Togetherness' and 'Animals' and some of our original Netflix movies.

George Saunders is the funniest. He makes me laugh in the way I want to laugh - with so much empathy and deep understanding of people. He illuminates things and people I've never thought about - and I've dedicated my life to the study of people and their idiosyncrasies. He is light years ahead.

I'm not someone who feels that unless I am anxious or depressed, there will be no creative drive. My greatest desire in the world is that my desperation goes away, and I can be happy.

Not all movies are movies you want to spend $14 on - and not all movies are movies you want to spend $10 on for ultra VOD, or even $6.99 on renting.

I consistently go to therapy and work on this one issue. I've devoted an hour every two weeks to ask, 'How do I be a workaholic, do what we love to do, and not die of a heart attack, destroy myself and my family, and keep my friends?'

You're taught - consciously or sub-consciously - to make an indie so you can get through that terrible process and get to Hollywood. I realized when I got there, 'Oh, no; I think I'm better over here.'

I think that 'Room 104' offered us an organic opportunity to tell all kinds of stories with all kinds of protagonists.