We're not going around being like, “Made the greatest movie of all time!” But we are being like, “Well, just show me the better soundtrack of the year.”

That toenail scene? That’s my actual toenail. I hit a wall while filming, and it started to fall off. So I thought, why not use it for the film? Production value!

We've never really played to big crowds. Even when we play on support, nobody knows us, so it's different. Hearing people screaming the words over us playing, that's like, super surreal to me.

We love Die on Mars. We are so proud of it. It's the reason that we are where we are. We also own it. A label doesn't own it, so we make all the money, which is great. We'll play songs from it until the end of time.

What happened to me after Top Gun: Maverick and Devotion was that I never looked at the sky the same way again. Anytime a plane flies over, you wonder what it is, who’s flying it, and where it’s going. It’s also really impossible to be around Tom Cruise and not fall in love with aviation.

Finding that dance where it can still feel small and intimate but be entertaining, that was the real big challenge of this film that we were trying to tackle.

There isn’t dialogue or language per say but there is a ton of communication in this film. There was a lot of on-the-fly collaboration.

Directing a Ghostbusters movie takes everything you’ve got, but it’s worth it when you start to share that story with audiences and see how they connect to the world and its loveable characters.

Everything that's been afforded to us by the bands that we've toured with, now it's our responsibility to give to the other bands that are touring with us.

We had been friends for many years and he was like a father figure to me. Little Pierce was such a huge fan of James Caan’s work.

It was an epic experience. A dream come true. I was very honored that John Woo wanted to do this film with me.

With a television series, you’re going to come back week to week not because of monsters but because of humans – because of characters that you love, that you’re rooting for, and that you care about. That’s what makes a good television show succeed and that’s what we knew we had to do on this.

It’s a classic story, the idea of Romeo and Juliet has been around forever. However, trying to do it through the lens of a first-gen, second-gen experience, I thought was new.

This is a story for anyone that’s felt ostracized, or like they had to fit into society’s expectations or norms when they just wanted to be themselves.

Letting go, trusting, and going on that journey was so beautiful and magical. It was unlike anything else that I’ve ever done.

I think people imagine that, I don’t know, being me is some exciting, thrilling adventure or something. But I have a lot of very mundane problems and deal with a lot of issues that pretty much anybody deals with in life.

I don’t want to play it safe. I want to have big jokes, a big villain, and a joyful adventure with this likable family.

There are set pieces and moments from those books that I’ve visualized in my mind’s eye, that are unforgettable. And probably like any filmmaker, when you see something in your imagination, you get this burning hunger to make it real. To one day step onto a set with actors and shoot it.

All the stress and all the industry bullshit aside, and all the being away from home that comes with this, there is no greater job on the face of the Earth than the one that we have.

One big influence on me as far as form over function would be the Marble Hornets series, which was the YouTube series that started the Slender Man mythos. That always had an impact on me as far as telling a story via the medium, where the medium is the message.