BB: So, this film is filled with tons of [Toronto] Easter Eggs. How do you go about creating a film that is so unabashedly Canadian, yet something that worldwide audiences are going to be able to embrace?

• MJ: We have good role models in that sense. In other Commonwealth countries like Australia and England, the BBC and ABC have a lot of super hyper-local content, whether it's The Office or Chris Lilley's Summer Heights High, where there are references to such bizarre local culture that you'd think it's completely unintelligible to outsiders. But these are some of my and Jay's favorite things ever made. So, I don't think that we thought about it as something that was going to repel audiences. We saw it as a feature. If we can do something in Canada in the same way that these other guys made shows about their particular cultures, then we'd be in good company.

• JM: Just working backwards too. Like, we don't put on any costume really, or we don't really venture out to try to manifest a set that we thought and we wrote. We're just using literally what's in front of us. So, we're able to do it because we really are what you see. This is where we live and this is what we know. It's all we know.

BB: Let’s talk about the editing. You've really made the unbelievable so believable. What were the biggest challenges you faced in the editing phase of the film? And maybe tell us a bit about some of the struggles because it looked like a lot of work went into it.

• MJ: The real struggle is actually not what you'd think. And this is what's so fun about making movies in this format. The struggle with editing is when the editors get a better idea for what our scene should have been than we had. And, so, we'll shoot something... a great example would be, I'll use a very obvious one, okay? When we tried to sneak through security at the CN Tower and we on the production team were expecting to get stopped. We thought that they were going to say, “hey, you can't bring parachutes in here. You can't bring wire cutters in here” and stop us. So, when they let us through all of a sudden, we are, like, okay, so now what do we do? We send that footage back to the editors and we're, like, well, do we use this? Like, what can we do? And they confront us with the idea that they love this footage, so let's see where it goes. Now, you have to go and actually shoot what you said you were going to shoot. That is, I think, a big example, but every day we were hearing alternate versions of what we had shot from the editors as they said, “don't do that, do this instead.” That said, it means that we're really working for them. Like, we're trying to shoot as much content as we can, do as much crazy shit as we can, so that they have enough clay, so to speak, to really mold something interesting. But we trust them completely. Curt [Lobb] and Bobby [Upchurch] are more or less in charge of the movie.

• JM: It's very fun to be presented by them. We get to perform for each other. So, Matt and I, there's no script. We know kind of where we want to go, but we improvise a lot of stuff, and they play with those ingredients and concoct something and show it back to us. But, often, they're not just doing that to make it funny. They're trying to find some better writing, as well. And often, what happens is that we go back to shoot again because the editors have discovered a way to punch up the writing, make something make more sense, to help a storyline. So, we're constantly going back and forth between the people on the field and the people in editing. We're making it all together.