So many projects, you’re not interested in XYZ whatever. With this project, all of the elements were something I was interested in.

I mean, I like the writing, but it’s about everybody coming together and creating a kind of perfect storm of talent, as it were.

I really don't like things that are just weird for weird’s sake, I find that really not funny for just my own personal taste. That's kind of how I approach comedy. If it's coming from a real place, you can go to the moon and it will still mean something.

Everyone thinks of me as the monster guy in genre movies, but not always the funny guy. I love being the funny guy! I was the class clown in school. I grew up on sitcoms and variety shows and sketch comedy, and that's what I really wanted to do.

This is a story about a woman becoming emancipated, or choosing her own path. That, to me, dovetailed really elegantly with the idea of the Dark Ages coming to an end and going into what a lot of people call England’s Golden Age.

I didn’t know what this movie was, and I was on page 70 of the script!

Watching people like Justin Long in front of me on my first day meant a lot. He’s rationalizing everything he’s doing with himself, with the director, with everyone around him. It’s like I’m getting this tiny little masterclass on my first day from a lifelong professional.

The film is grimy. And we wanted that grimy soundtrack.

It was such an amazing process to be able to get Nine Inch Nails to do it, and I knew that they were going to make the music when we were shooting. So, I used [their older songs] as inspiration — really going more industrial and grittier with this movie.

It's a place that we all kind of understand as kind of a different place. There's something about it that's just darkly magical. 

We kind of focus on the live aspect more than the song, yeah. It’s like, is this something I would be stoked to see? That’s how the songs are written.

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.