The hardest animal was the vulture. But the horses were great, the dog was great [in Valley of Violence]. It was really easy.

It's funny, because I don't think of my films as "slow-burn." I don't even know if I was familiar with the phrase until people started labeling me with it.

I have a romantic comedy I'd love to make, but I can't get the money for it. It's hard to get people to give you money for an arty romantic comedy when you've done a horror movie. So I can just sit there and keep complaining about that, or I can go make another horror movie this year. People will get behind me on that, because I'm relatively bankable. As long as I can do my own thing with it, I'll keep doing it.

I always feel like the less you say when you're making a movie, as a director, is the best. That means everything's going great.

Typically, in Westerns, people who are in a Western feel like they're in a Western. It's almost like they know they do all these Western things.

I'm not sure I understand the compulsion to label things.

We've become so postmodern as an audience and we're so familiar with the style of horror movies that they all kind of feel the same. I think if you can do something a little bit unexpected, then you as a filmmaker end up being one step ahead again. I think that's the key.