That's what's interesting about people. It can be funny, but when [John] Travolta got there and did [comic moments] you're like, "Oh! This is really funny." Or when Karen [Gillan] and Taissa [Farmiga] do something, I'm like, "This came out so much funnier."

It's not the plot [of Valley of Violence] - the plot is the reason to get all these things to happen, all these character moments to happen. It was always meant to have these two perspectives.

The second half [of Valley of Violence], you're with the guys that you should hate, but when you start seeing what their real lives are, you're like, "I do hate you, but at the same time, all right - maybe take it down a notch." The complications of all that are what's so interesting to me, those esoteric details - that's what people will hopefully take away from the movie.

I don't go to see movies to see plots. I'm not interested in puzzles like an Agatha Christie story.

If you ever see the director pulling people aside, that means something's not working. Because you're trying to figure out why it's not working. But we would show up, we would talk about it.

I like movies that leave things in the hands of the audience.

We can't make a giant sprawling movie. We're going to make a small movie. And what we got is what I could get, performance-wise.