If we have a great idea, we’ll go, ’Oh, this could be a cool movie.’ Or really for us, it’s more like, ’Oh, this is a really bad idea. Let’s do this. This seems really stupid.’

Parker describes a deliberately contrarian creative instinct: instead of pursuing ideas that immediately read as “good” or respectable, he and his collaborators are drawn to premises that sound reckless, tasteless, or unworkable. The joke—calling the idea “really bad” and “really stupid”—signals a method: comedy and satire often thrive on taboo, exaggeration, and the collision between high ambition and lowbrow premises. It also hints at a filtering mechanism for originality: if an idea feels too safe, it may already be conventional; if it feels like a terrible risk, it may contain the surprise and audacity that can become distinctive on screen.