"Well, first of all, Marvel's this incredible company that has shown in the past that they think outside the box with directors. I mean, it's shocking the people they've hired, over and over again, and they've had great success as a result. They like character, and they like storytelling and they like fun. We were surprised, but they were big fans of "Community" and you can sort of draw a line between some things we did on "Community" and a Marvel movie. I think if you look at some of the big genre episodes, the paintball episodes, etc. -- there's a cinematic sensibility being explored there that is in the language of [various kinds of] films."

"We were comic book geeks from a young age and big fantasy geeks. We got to talk to them in detail about that history. They knew that we understood the brand really well and the characters really well. It was a long process, actually, of talking to them over and over again, through a series of meetings over a long period of time. And I think they just -- we were really passionate about the movie, incredibly passionate about the movie. They felt that, and they felt like it was the right match."

"There's a little-known side to my brother and I, which is, we didn't start out as comedy directors. We started out in the mid-'90s -- we made this credit card movie that made the festival circuit in '97, that Steven Soderbergh saw at the same time he [was showing] 'Schizopolis' on the festival circuit. He loved our movie and offered to produce something for us, so we went into a cycle of writing -- we wrote three scripts, only one of which was a comedy. That was 'Welcome to Collinwood,' and when he formed his company with George Clooney, he wanted to make something with us, so we showed him these three scripts and he picked 'Collinwood,' and from that point forward, we were comedy directors. And we've loved doing it, but we've always had another side to ourselves.
People in the industry know that, because they've seen scripts that we've done, they've seen things that the public at large hasn't seen. So I think it is more surprising to people on the outside, but people on the inside get it a little more, because it is in our wheelhouse."

"One reason why people coming from the television world work particularly well at Marvel is connected to one thing you were saying earlier: Marvel is a big company and they've made a lot of movies and these movies are connected to each other. That's not typical for a feature film. A lot of people who work in feature films, that whole concept is a little foreign, in the sense that you have to be thinking about predecessors in a very specific way. They aren't just prequels, there's a whole mythology that has preceded you. Television people are used to that because there's seasons and seasons of a show and this history is very important.

Also, it's a big company and you're dealing with people from the comic book side and the feature side and so there's a lot of people to work with, as in television -- there's a lot of people to collaborate with. People who have done well in television have a gift for being able to work with a large number of people."

"Well, two things. It has been something my brother and I have been working on for many years, behind the scenes, sort of preparing. We've had this great run in television comedy, and maybe 'You, Me and Dupree' was an extension of that on a feature level. But we've spent a lot of years now researching that craft.

The other side of that equation is, Marvel is this incredible machine with all these amazing people who work there. That's part of their confidence and why they can go outside the box [in choosing] directors, because they have people there who know everything. They said to us early on in the interview process, 'We don't expect you to know anything [about special effects and so forth] -- you don't have to know everything about this stuff, because we're here for that.' They're very respectful of directors. They're an amazing company to work with."