 It's a serious thriller. What's the tone on set for like this? Can you take us into a couple of scenes? What's your funniest or most memorable moment from sort of shooting this? I amuse myself by asking young people if they recognize this super famous name from our lives and watching them say no. So I'd say, do you know who Joni Carson is? And they'd go, who? And then I'd watch them. I'd go, what? What are you talking about? The one that sent her into a dizzy was I said, Ted Danson. And they were like, nothing. And I was like, okay, no, no, that's impossible. That is impossible. And they were like, I don't know who that is. And I was just like, okay. Oh yeah, yeah. And no one knew. Or like, they asked the makeup artist, I heard makeup, Vivy Tran, who Ted Danson was, and she didn't know. And I was like, I know who Ted Danson is. One thing that was always surprising to me was like, Jon, when we bring the slate in front of him would always on the first day start hitting it. But he wouldn't change his face. He would just hit it. And at first we were all like, did he just hit the slate? But he's not, no one's acknowledging this. And then he just kept doing it. I'm like, oh, I guess it's just the Jon thing to do. Just like hit the slate. Sometimes when the camera will come up, people will just say, hit it. It isn't an infinitive way of storytelling. Can you sort of introduce audiences to that and what it adds to the movie? The idea of the movie is first, recognizing that we're living so much of our lives and having so much communication through our devices. The conversation that we're happening here to for, or previously, face to face, are happening in our devices and the movie saying, how do we dramatize those moments? How do we throw them up on the big screen? And it used to be just a camera over a person as they were typing or sending instant messages on their computer, but now it goes inside. Our big objective was to make a very classic story. Me and Sevahanan, who's the co-writer in the film, our bet was that if we wrote a very structured and classic story and always focused on the story first, that the way that it was told would just inform the story as opposed to the other way around. I think if it was the gimmick in front of the story, the movie would've fallen apart. But for us, the whole challenge, the whole two years of making this film was like focusing on the story. If we focused on the story, this thing would fall in place as well. Hopefully it feels cinematic and I think it does. How good are you guys with sort of technology? How much do you rely on your smartphones? Too much, admittedly, especially when I became a parent and my son became of the age where he could hold a phone. You know, or we had babysitters. You know, just always being able to be in contact with him and knowing what's going on in his life. You know, it's all in the phone. It's all about the phone. And also about just catching up with the news of the day because things happen every 10 minutes now. It's hard to really understand it all and you can get little tidbits throughout the day. Often you have to cut scenes that you really like. Are there any deleted scenes that stand up for you that may turn up later in another version? Well, it's hard because in this film, you know, you learn early on what you need to delete because like you don't start with the final product. You start with a sketch of it, you know, and you're constantly building on a sketch. So early on, we're looking at the sketch of a scene and realizing we don't need to do that. So we ended up never making it in its completion. So there's no real deleted scenes though there are plenty of bloopers.