The bad guys, when they start getting picked off, they're upset that their friends died, too. But that's the thing. That's what life is. It's that weird gray area.

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.

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.

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.

It's very important to me to find ways to relate the audience to the characters. This is the first thing to go in most mainstream horror films.

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.

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.