Really, I wanted to make a movie [Valley Of Violence] about: How does violence affect people? This is a take from me on how violence affects people.

Of course, we talked about Westerns we like with [James Ransone in Valley of Violence] , but it was always thematically in relation to the movie and what the themes of the movie were.

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.

To me it's not so much that the movies are slow-paced as much as they are about spending time building a relationship between the audience and the characters. If you don't spend an adequate amount of time doing this, then how can you expect to scare anyone?

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 one of those things, when you look back on it, you'd go, "Oh, I could've done without that. If I could go back in time, I would do it different." That's the thing with violence in general.

It definitely could have been a horror story [Valley of Violence], oh my God, if the dog was impossible. So could the horses.