Was "Sleepwalk With Me" the type of film you envisioned making back then?
Yeah. A movie is never quite going to be what you think it's going to be. I remember having lunch with Craig Zobel, who did "Compliance." I have this habit of really picking the brains of people who's films I really like. At the time, I was asking Zobel, Lena Dunham and Noah Baumbach questions. One of the things Craig Zobel said was, "A film is never what you think it's going to be. You shoot it, then it's another thing, and then you mold it from there." That's a completely accurate statement.
Tonally, it's exactly what I wanted to, even since I was in college. I wanted to make something that made me feel the way I feel when I see a James Brooks film, or those Woody Allen films from the middle years. It doesn't look and it's not edited in the way I imagined the film would be, but it's striking the right balance between drama and comedy that I was hoping for.
Given that you performed the "Sleepwalk With Me" one-man show for a good long while off-Broadway, how did you keep the process of translating it to the screen exciting and fresh for you?
Making a film is beyond exciting. It's so exciting it's exhausting. It's such a different medium. Having to collaborate with your cinematographer, your actors, your production designer, etc., is all-consuming. The idea that it would be boring in any way is not even possible.
And I think the fact that I put it out in all those formats helped shape the feature. It gave all the department heads and the actors some confidence. Like, Mike doesn't know how to direct a feature, but he knows how to make things funny with pathos. That counts for something.
How did you juggle wearing so many hats while making this film?
Very clumsily [laughs]. No, I'm actually looking to do it again with my show "My Girlfriend's Boyfriend." I'm working on that right now. It was very hard to juggle. I was fortunate to have co-director Seth Barrish. He and I have been working together for six or seven years. He really knows what I like and what I don't like. We can almost not speak about certain things and just know.
Now that you've made your mark as a filmmaker, do you see yourself going down a similar route -- writing a solo show then adapting it for the screen -- for all future film projects?
It's funny, because this summer I did stand up for the first time in a while. I just loved it so much. There was part of me after making the film that was like, well, I'm just going to make movies from now on. But after doing that show, the murkiness I feel doing a play, a movie... I think the murkiness will be the thing that's unique about what I'm doing and not the thing I'm ashamed of. I think it might be I workshop in front of audiences and then I convert that into film. That might be what I do for the rest of time.