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

I'd been all hyped about it, I was like, "Please come," and to have that and know Tommy Nohilly is probably going like, "This is cool," it makes me feel good.

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 think having funny characters is just one way of having three-dimensional characters.

Technology has just been the major progression of the last 15 years - instant communication. That stuff has gone so global. That's what's interesting about it. When someone sits down in front of a computer, it's the same everywhere in the world, and it's the same screen looking back at you with the same Google, and there's no individuality to it. So I decided it would be kind of visually uninteresting to have in my films.

You get to actually make your movie. As a filmmaker, that's the dream. That's why you get up in the morning, to be able to do that. You feel constrained sometimes, but if the movie makes sense in the budget realm, then it isn't hard.

You're limited to one image, but you can have 50 audio tracks. It's something you'd be foolish not to experiment with. So I'm also very interested in sound that happens offscreen. I think that's a way to expand the scope of the movie. And it's all very planned out from the script stage. For me, sound design is a major part of the narrative. I think that's what makes working with certain people on the producer level difficult.