CD: Even without having your videos go viral, you had something to show. You could tell people to watch these ten videos. Which says what Good Cop, Great Cop is, in a way that words couldn’t.

MP: When we started, I just wanted more output. People would be like, “Oh, you make things? Where are they? Where are things you make?” And I was having to go back pretty far into my late college time period to say I’m really proud of this. So we just starting producing videos.

CH: I was very deep into realist painting, but part of the territory there was that it takes four weeks to finish one painting. Then you do another one because you don’t have enough work for a solo show for a year and a half. You do one solo show and it exhausts the supply instantly. It was incredibly satisfying to do the work, but then, it was, at the same time, very frustrating to look back on it and be like, “What am I spending all my time on?” It’s a very low-yield kind of thing. So, built into the fun of Good Cop, Great Cop was that really strict, one-a-week deadline, for the longest time. That was the most satisfying thing.

CD: I’ve been thinking a lot about how the most interesting discoveries and art happen when people who are deeply specialized are exposed to and engage with people who are deeply specialized in another field. There’s a book called The Medici Effect that argues that intersectional innovations between two seemingly unrelated fields are really what’s driven progress historically.

CH: I love it, the idea of the Renaissance man.

CD: But society is so much more set up to praise and support incremental innovation. Someone who makes a car that’s 3 mpg more efficient — that’s supported, because when you tell people what you’re working on, they get it. But before cell phones